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Open Access Articles- Top Results for 1950s in music
Main article: Timeline of musical events
For music from a year in the 1950s, go to 50 | 51 | 52 | 53 | 54 | 55 | 56 | 57 | 58 | 59
The examples and perspective in this article deal primarily with USA and Europe and do not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (December 2013)
Timeline of musical events
List of popular music genres
This article includes an overview of the major events and trends in popular music in the 1950s.
In the First World, rock and roll, pop, swing, rhythm and blues, blues, country and rockabilly dominated and defined the decade's music.
1 The U.S.
1.1 Classic pop
1.2 R&B
1.3 Rock and roll
1.4 Blues
1.5 Country music
1.7 Other trends
1.8 Folk music
3 Latin America
4 Australia and New Zealand
See also: Music history of the United States (1940s and 50s) § 1950s
Classic pop
Popular music dominated the charts for the first half of the decade. Vocal driven classic pop replaced big band/swing at the end of World War II, although it often used orchestras to back the vocalists. 1940s style Crooners vied with a new generation of big voiced singers, many drawing on Italian Canto Bella traditions. Mitch Miller, A&R man at the era's most successful label, Columbia Records, set the tone for the development of popular music well into the middle of the decade.[1] Miller integrated country, Western, rhythm & blues, and folk music into the musical mainstream, by having many of his label's biggest artists record them in a style that corresponded to Pop traditions. Miller often employed novel and ear-catching arrangements featuring classical instruments (whooping french horns, harpsichord), or sound effects (whip cracks). He approached each record as a miniature story, often "casting" the vocalist according to type.
(Mitch) Miller and the producers who followed his model were creating a new sort of pop record. Instead of capturing the sound of live groups, they were making three-minute musicals, matching singers to songs in the same way that movie producers matched stars to film roles. As Miller told "Time" magazine in 1951, "Every singer has certain sounds he makes better than others. Frankie Laine is sweat and hard words—he's a guy beating the pillow, a purveyor of basic emotions. Guy Mitchell is better with happy-go-lucky songs; he's a virile young singer, gives people a vicarious lift. Rosemary Clooney is a barrelhouse dame, a hillbilly at heart." It was a way of thinking perfectly suited to the new market in which vocalists were creating unique identities and hit songs were performed as television skits.[2]
Whereas big band/swing music placed the primary emphasis on the orchestration, post-war/early 1950s era Pop focused on the song's story and/or the emotion being expressed. By the early 1950s, emotional delivery had reached its apex in the miniature psycho-drama songs of writer-singer Johnnie Ray. Known as "The Cry Guy" and "The Prince of Wails", Ray's on-stage emotion wrought "breakdowns" provided a release for the pent-up angst of his predominantly teenage fans.[3] As Ray described it, "I make them feel, I exhaust them, I destroy them."[4] It was during this period that the fan hysteria, which began with Frank Sinatra during the Second World War, really began to take hold.
Although often ignored by musical historians, Pop music played a significant role in the development of rock 'n' roll as well:
[Mitch] Miller also conceived of the idea of the pop record "sound" per se: not so much an arrangement or a tune, but an aural texture (usually replete with extramusical gimmicks) that could be created in the studio and then replicated in live performance, instead of the other way around. Miller was hardly a rock 'n' roller, yet without these ideas there could never have been rock 'n' roll. "Mule Train", Miller's first major hit (for Frankie Laine) and the foundation of his career, set the pattern for virtually the entire first decade of rock. The similarities between it and, say, "Leader of the Pack," need hardly be outlined here.[5]
File:Frankie Laine Patti Page 1950s.jpg
Frankie Laine (at piano) and Patti Page, circa 1950.
Patti Page kicked things off with what would become the decade's biggest hit, "Tennessee Waltz". Her other hits from this period included: "Mister and Mississippi", "Mockin' Bird Hill", "Detour", "(How Much Is That) Doggie in the Window", and "Old Cape Cod". Frankie Laine's 1949 hits, "That Lucky Old Sun (Just Rolls Around Heaven All Day)" and "Mule Train", were still riding high on the charts when the decade began. He continued to score with such hits as: "Georgia on My Mind", "Cry of the Wild Goose", "Jezebel", "Rose, Rose, I Love You", "Jealousy (Jalousie)", "High Noon (Do Not Forsake Me)", "I Believe", "Granada", "Moonlight Gambler", and "Rawhide". Johnnie Ray had a long run of hits in the early half of the decade, often backed by The Four Lads, including: "Cry", "The Little White Cloud That Cried", "Walking My Baby Back Home", "Please, Mr. Sun", and "Just Walkin' in the Rain". The Four Lads racked up some hits on their own with "Who Needs You", "No, Not Much", "Standin' on the Corner", and "Moments to Remember". Nat "King" Cole dominated the charts throughout the decade with such timeless classics as "Unforgettable", "Mona Lisa", "Too Young", "Darling, Je Vous Aime Beaucoup", "Pretend", "Smile", and "A Blossom Fell". Perry Como was another frequent visitor to the charts with hits like: "If", "Round and Round", "Don't Let the Stars Get in Your Eyes", "Tina Marie", "Papa Loves Mambo", and "Catch a Falling Star".
Other major stars in the early 1950s included Frank Sinatra ("Young at Heart", "Three Coins in the Fountain", "Witchcraft"), Tony Bennett ("Cold, Cold Heart", "Because of You", "Rags to Riches"), Kay Starr ("Bonaparte's Retreat", "Wheel of Fortune", "Rock and Roll Waltz"),[3] Rosemary Clooney ("Come On-a My House", "Mambo Italiano", "Half as Much", "This Ole House"), Dean Martin ("That's Amore", "Return to Me", "Sway"), Georgia Gibbs ("Kiss of Fire", "Dance With Me, Henry", "Tweedle Dee"), Eddie Fisher ("Anytime", "Wish You Were Here", "Thinking of You", "I'm Walking Behind You", "Oh! My Pa-Pa", "Fanny"), Teresa Brewer ("Music! Music! Music!", "Till I Waltz Again With You", "Ricochet(Rick-O-Shay)"), Doris Day ("Secret Love", "Whatever Will Be Will Be (Que Sera Sera)", "Teacher's Pet"), Guy Mitchell ("My Heart Cries for You", "The Roving Kind", "Pittsburgh, Pennsylvania", "Singing the Blues"), Bing Crosby ("Play a Simple Melody with son Gary Crosby, "True Love with Grace Kelly), Dinah Shore ("Lavender Blue"), Kitty Kallen ("Little Things Mean a Lot"), Joni James ("Have You Heard", "Wishing Ring", "Your Cheatin' Heart"), Peggy Lee ("Lover", "Fever"), Julie London ("Cry Me a River"), Toni Arden ("Padre"), June Valli ("Why Don't You Believe Me"), Arthur Godfrey ("Slowpoke"), Tennessee Ernie Ford ("Sixteen Tons"), Les Paul and Mary Ford ("Vaya Con Dios", "Tiger Rag"), and vocal groups like The Mills Brothers ("Glow Worm"), The Weavers "(Goodnight Irene"),[1] The Four Aces ("Love Is a Many-Splendored Thing", "(It's No) Sin"), The Chordettes ("Mister Sandman"), Fontane Sisters ("Hearts of Stone"), The Hilltoppers ("Trying", "P.S. I Love You"), The McGuire Sisters ("Sincerely", "Goodnite, Sweetheart, Goodnite", "Sugartime") and The Ames Brothers ("Ragmop" "The Naughty Lady of Shady Lane").
Classic pop declined in popularity as Rock and roll entered the mainstream and became a major force in American record sales. Crooners such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the first half of the decade, found their access to the pop charts significantly curtailed by the decade's end.[6] However, new Pop vocalists continued to rise to prominence throughout the decade, many of whom started out singing Rock 'n' Roll. These include: Pat Boone ("Don't Forbid Me", "April Love", "Love Letters in the Sand"), Connie Francis ("Who's Sorry Now", "Among My Souvenirs", "My Happiness"), Gogi Grant ("Suddenly There's a Valley", "The Wayward Wind"), Bobby Darin ("Dream Lover", "Beyond the Sea", "Mack the Knife"),[7] and Andy Williams ("Canadian Sunset", "Butterfly", "Hawaiian Wedding Song"). Even Rock 'n' Roll icon Elvis Presley spent the rest of his career alternating between Pop and Rock ("Love Me Tender", "Loving You", "I Love You Because"). Pop would resurface on the charts in the mid-1960s as "Adult Contemporary".
In 1951, Little Richard Penniman began recording for RCA Records in the jump blues style of late 1940s Joe Brown and Billy Wright. However, it wasn't until he prepared a demo in 1954, that caught the attention of Specialty Records, that the world would start to hear his new, uptempo, funky rhythm and blues that would catapult him to fame in 1955 and help define the sound of rock 'n' roll. A rapid succession of rhythm and blues hits followed, beginning with "Tutti Frutti" and "Long Tall Sally",[8] which would influence performers such as James Brown,[9] Elvis Presley,[10] and Otis Redding.[11]
At the urging of Leonard Chess at Chess Records, Chuck Berry had reworked a country fiddle tune with a long history, entitled "Ida Red". The resulting "Maybellene" was not only a #3 hit on the R&B charts in 1955, but also reached into the top 30 on the pop charts.[12]
Stax Records was founded in 1957 as "Satellite Record". The label was a major factor in the creation of the Southern soul and Memphis soul music styles.
In 1959, two black-owned record labels, one of which would become hugely successful, made their debut: Sam Cooke's Sar, and Berry Gordy's Motown Records.[13][14]
File:Elvis Presley promoting Jailhouse Rock.jpg
Elvis Presley, 1957
File:Chuck Berry51.JPG
Rock and roll dominated popular music in the latter half of the 1950s. The musical style originated and evolved in the United States during the late 1940s and early 1950s, and quickly spread to much of the rest of the world. Its immediate origins lay in a mixing together of various black musical genres of the time, including rhythm and blues and gospel music; with country and western and Pop.[15] In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, and is credited with first using the phrase "rock and roll" to describe the music.[16]
The 1950s saw the growth in popularity of the electric guitar (developed and popularized by Les Paul). Paul's hit records like "How High the Moon", and "The World Is Waiting for the Sunrise", helped lead to the development of a specifically rock and roll style of playing of such exponents as Chuck Berry, Link Wray, and Scotty Moore.[17] Chuck Berry, who is considered to be one of the pioneers of Rock and roll music, refined and developed the major elements that made rock and roll distinctive, focusing on teen life and introducing guitar solos and showmanship that would be a major influence on subsequent rock music.[18]
Artists such as Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, Big Joe Turner, and Gene Vincent released the initial rhythm and blues-influenced early rock and roll hits. Rock and roll forerunners in the popular music field included Johnnie Ray, The Crew-Cuts, The Fontane Sisters, and Les Paul and Mary Ford. The Rock and Roll Era is generally dated from 25 March 1955 premiere of the motion picture, "The Blackboard Jungle". This film's use of Bill Haley and His Comets' "(We're Gonna) Rock Around the Clock" over its opening credits, caused a national sensation when teenagers started dancing in the aisles.
Pat Boone became the first rock and roll teen idol in 1955 with heavily Pop-influenced "covers" of R&B hits like "Two Hearts, Two Kisses (Make One Love)", "Ain't That a Shame", and "At My Front Door (Crazy Little Mama)". Boone's traditional approach to rock and roll, coupled with his All-American, clean-cut image helped bring the new sound to a much wider audience. Elvis Presley, who began his career in the mid-1950s, soon became the leading figure of the newly popular sound of rock and roll with a series of network television appearances, motion pictures, and chart-topping records. His energized interpretations of songs, many from African American sources, and his uninhibited performance style made him enormously popular—and controversial during that period. Boone and Presley's styles/images represented opposite ends of the burgeoning musical form, which competed with one another throughout the remainder of the decade.
In 1957, a popular television show featuring rock and roll performers, American Bandstand, went national. Hosted by Dick Clark, the program helped to popularize the more clean-cut, All-American brand of rock and roll. By the end of the decade, teen idols like Bobby Darin, Ricky Nelson, Frankie Avalon, Paul Anka, Neil Sedaka, Bobby Rydell, Connie Francis, and Fabian Forte were topping the charts. Some commentators have perceived this as the decline of rock and roll; citing the deaths of Buddy Holly, The Big Bopper and Richie Valens in a tragic plane crash in 1959 and the departure of Elvis for the army as causes.
On the other side of the spectrum, R&B-influenced acts like The Crows, The Penguins, The El Dorados and The Turbans all scored major hits, and groups like The Platters, with songs including "The Great Pretender" (1955), and The Coasters with humorous songs like "Yakety Yak" (1958), ranked among the most successful rock and roll acts of the period.[19]
Rock and roll has also been seen as leading to a number of distinct subgenres, including rockabilly (see below) in the 1950s, combining rock and roll with "hillbilly" country music, which was usually played and recorded in the mid-1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy Holly and with the greatest commercial success, Elvis Presley.[20] Another subgenre, Doo Wop, entered the pop charts in the 1950s . Its popularity soon spawns the parody "Who Put the Bomp".
Novelty songs, long a music industry staple, continued their popularity in the Rock and Roll medium with hits such as "Beep Beep".
File:Ray Charles.jpg
Blues had a huge influence on mainstream American popular music in the 1950s with the enthusiastic playing styles of popular musicians like Bo Diddley[21] and Chuck Berry,[22] departed from the melancholy aspects of blues and influenced Rock and roll music.
Ray Charles and Fats Domino help bring blues into the popular music scene. Domino provides a boogie-woogie style that heavily influences rock 'n' roll.
Big Mama Thornton records the original versions of "Hound Dog" and "Ball and Chain".[23]
Main article: Country Music
Country music stars in the early 1950s included Hank Williams, Patsy Cline, Bill Monroe, Eddy Arnold, Gene Autry, Tex Ritter, Jim Reeves, Tennessee Ernie Ford, Chet Atkins and Kitty Wells.
Wells' 1952 hit "It Wasn't God Who Made Honky Tonk Angels" became the first single by a solo female artist to top the U.S. country charts. "It Wasn't God ... " was a landmark single in several ways; it began a trend of "answer" songs, or songs written and recorded in response to (or to counterpoint) a previously popular song – in this case, "The Wild Side of Life" by Hank Thompson – and for Wells, began a trend of female singers who defied the typical stereotype of being submissive to men and putting up with their oft-infidel ways, both in their personal lives and in their songs.
Early in the decade, the honky-tonk style dominated country music, with songs of heartbreak, loneliness, alcoholism and despair the overriding themes. Long regarded the master of these themes was Hank Williams, whose critically acclaimed songwriting resulted in a string of legendary hits and songs, such as "Cold, Cold Heart", "Your Cheating Heart", "Why Don't You Love Me" and many more titles. Williams also lived hard, and on January 1, 1953, died. His legacy, however, would live on in country music for decades to come, and be vastly influential to new stars including a young Saratoga, Texas native named George Jones.
Jones, just 23 when he had his first national hit, would go on to become one of country music's most iconic figures for the next 55-plus years, and although some of his early songs included rockabilly (usually recorded under the pseudonym Thumper Jones), he stayed true to the honky-tonk style for most of his career. His 1950s hits included "Why Baby Why", "What Am I Worth", "Treasure of Love", "Just One More" and "White Lightning", and by the end of the 1990s, that number would increase to more than 100 hit songs.
Besides Williams and Jones, the most popular honky tonk-styled singers included Lefty Frizzell, Carl Smith and Webb Pierce.
In 1955, Ozark Jubilee nearly began a nearly six-year run on ABC-TV, the first national TV show to feature country's biggest stars.
By the late 1950s, the Nashville sound became country music's response to continued encroachment of genre by rock artists. This new style emphasized string sections, background vocals and crooning lead vocals in the vein of mainstream popular music, but utilizing production styles and themes seen in country music. Artists like Eddy Arnold and Jim Reeves, both whom had been well established earlier in the decade, were early pioneers in this style saw, which went on to see its greatest success in the 1960s. One of the first major Nashville Sound hits was "Oh, Lonesome Me" by Don Gibson. Also popular was the "saga song", often a song with a historical background or having themes of violence, adultery and so forth. Songs by artists such as Johnny Horton ("The Battle of New Orleans" and "When It's Springtime in Alaska"), Stonewall Jackson ("Waterloo"), Marty Robbins ("El Paso") and Lefty Frizzell ("Long Black Veil") dominated the charts starting in 1959 and continuing into the early 1960s.
The late 1950s saw the emergence of the Lubbock sound, but by the end of the decade, backlash as well as traditional country music artists such as Ray Price, Marty Robbins, and Johnny Horton began to shift the industry away from the rock n' roll influences of the mid-1950s.
File:JohnnyCashHouse1969.jpg
Rockabilly emerged in the early 1950s as a fusion of rock and roll and country music. Rockabilly was most popular with country fans in the 1950s. The music was propelled by catchy beats, an electric guitar and an acoustic bass which was played using the slap-back technique. Rockabilly is generally considered to have begun in the early 1950s, when musicians like Bill Haley began mixing jump blues and electric country. In 1954, however, Elvis Presley truly began the popularization of the genre with a series of recordings for Sun Records. "Rock Around the Clock" (1955, Bill Haley) was the breakthrough success for the style, and it launched the careers of several rockabilly entertainers.
During this period Elvis Presley converted over to country music. He played a huge role in the music industry during this time. The number two, three and four songs on Billboard's charts for that year were Elvis Presley, "Heartbreak Hotel;" Johnny Cash, "I Walk the Line;" and Carl Perkins, "Blue Suede Shoes".[24] Cash and Presley placed songs in the top 5 in 1958 with No. 3 "Guess Things Happen That Way/Come In, Stranger" by Cash, and No. 5 by Presley "Don't/I Beg Of You".[25] Presley acknowledged the influence of rhythm and blues artists and his style, saying "The coloured folk been singin' and playin' it just the way I'm doin' it now, man for more years than I know." But he also said, "My stuff is just hopped-up country."[26] By 1958, many rockabilly musicians returned to a more mainstream style or had defined their own unique style and rockabilly had largely disappeared from popular music, although its influences would remain into the future.
File:Nina Simone14.JPG
Bebop, Hard bop, Cool jazz and the Blues gained popularity during the 1950s while prominent Jazz musicians who came into prominence in these genres included Lester Young, Ben Webster, Charlie Parker, Dizzy Gillespie, Miles Davis, John Coltrane, Thelonious Monk, Charles Mingus, Art Tatum, Bill Evans, Ahmad Jamal, Oscar Peterson, Gil Evans, Jerry Mulligan, Cannonball Adderley, Stan Getz, Chet Baker, Dave Brubeck, Art Blakey, Max Roach, the Miles Davis Quintet, the Modern Jazz Quartet, Ella Fitzgerald, Ray Charles, Sarah Vaughn, Dinah Washington, Nina Simone, and Billie Holiday.
Other trends
File:Harry Belafonte Almanac 1954 b.jpg
In 1956 the American musician of Jamaican descent Harry Belafonte popularized the Calypso music Caribbean musical style which became a worldwide craze with the release of his rendition traditional Jamaican folk song "Banana Boat Song" from his 1956 album Calypso.[27] The album later became the first full-length record to sell more than a million copies, and Belafonte was dubbed the "King of Calypso".
Main article: American folk music revival
The Weavers, Pete Seeger,[1] Woody Guthrie, The Kingston Trio,[27] Odetta,[28] and several other performers were instrumental in launching the folk music revival of the 1950s and 1960s.
20px This section requires expansion. (January 2010)
See also: Music of the United Kingdom (1950s)
During the 1950s European popular music give way to the influence of American forms of music including jazz, swing and traditional pop, mediated through film and records. The significant change of the mid-1950s was the impact of American rock and roll, which provided a new model for performance and recording, based on a youth market. Initially this was dominated by American acts, or re-creations of American forms of music, but soon distinctly European Bands and individual artists began in early attempts to produce local Rock and roll music.
20px This section requires expansion. (April 2010)
In 1958 the American musician Ritchie Valens's "La Bamba" popularized Spanish language rock music throughout Latin America.
In 1958 Daniel Flores, who some call the "godfather of Latin Rock", performed his hit song "Tequila".
Argentinian band Los Cinco Latinos released their first album Maravilloso Maravilloso, which was met with success in Latin America and the United States.[29]
Hispanics, young and old, could find comfort in the popular rhythmic sounds of Latin music that reminded them of home; mambo, cha-cha, merengue and salsa. Tito Puente, an American born Boricua (Puerto Rican), revolutionized the Latin music of the time. He incorporated many new percussion and woodwind instruments into the popular Latin sound. The Hispanics in the U.S. certainly were able to conform with the popular vibes.
By the end of the decade, as the Rock n Roll style had spread throughout the world, it soon caught on with Australian teens. Johnny O'Keefe became perhaps the first modern rock star of the country, and began the field of Australian rock.
New Zealand was introduced to Rock n Roll by Johnny Cooper's cover of "Rock around the Clock".
After Rock n Roll had been introduced the most famous of New Zealand's cover artists were: Johnny Devlin, Max Merit and the Meteors, Ray Columbus and the Invaders and Dinah Lee.[30]
List of musicians of the 1950s
^ a b c Gilliland, John (1969). "Play A Simple Melody: American pop music in the early fifties" (AUDIO). Pop Chronicles. Digital.library.unt.edu. Show 1.
^ How The Beatles Destroyed Rock 'n' Roll, Elijah Wald, Oxford University Press, 2009, p162.
^ a b Gilliland 1969, show 2.
^ Cry: The Johnnie Ray Story, Jonny Whiteside, Barricade Books, October 1994.
^ Sinatra: The Song Is You, Will Friedwald, Da Capo Press, 1997, p. 174.
^ R. S. Denisoff, W. L. Schurk, Tarnished gold: the record industry revisited (Transaction Publishers, 3rd edn., 1986), p. 13.
^ Gilliland 1969, show 13.
^ Gilliland 1969, show 6.
^ White, Charles. (2003), p. 231. The Life and Times of Little Richard: The Authorised Biography. Omnibus Press.
^ White (2003), p. 227
^ Palmer, Robert (19 September 1995). Rock & Roll: An Unruly History. Harmony. p. 82. ISBN 978-0-517-70050-1.
^ "The Roots of Rock", Rock and Roll Hall of Fame, retrieved 4 May 2010.
^ "Rock (music)", Encyclopædia Britannica, retrieved 24 June 2008.
^ J. M. Curtis, Rock Eras: Interpretations of Music and Society, 1954–1984 (Madison, WI: Popular Press, 1987), ISBN 0-87972-369-6, p. 73.
^ M. Campbell, ed., Popular Music in America: And the Beat Goes on (Cengage Learning, 3rd edn., 2008), pp. 168-9.
^ V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 1306–7.
^ [[[:Template:Allmusic]] "Rockabilly"], Allmusic, retrieved 6 August 2009.
^ Herzhaft, pg. 53
^ http://www.answers.com/topic/willie-mae-big-mama-thornton
^ [1] Billboard.com
^ Workin' Man Blues - Country Music in California. Gerald W. Haslan. University of California Press. 1999. page 135. ISBN 0-520-21800-0.
^ a b Gilliland 1969, show 18.
^ Página oficial de Estela Raval y los Cinco Latinos
^ "Give It A Whirl" A video on the history of New Zealand Rock
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discussion, racist books
When You're Told a Book is Racist, Why Do You Need to Judge it For Yourself?
12:54 Jo 5 comments
Warning: I'm kind of angry right now, so this is an anger-filled post. I criticise some readers - though not specific people - for reading certain books after being given certain information about those books. If you are one of the people I am criticising, do please discuss your reasons with me, because I really don't understand your choices. It may turn out this whole post is wrong. I actually hope it is, that I am.
You may have seen over the last few months on bookish Twitter that a number of YA novels have been called out for being racist. Authors and readers have been tweeting about how harmful and upsetting these books are for months now, and rightly so. I'm not going to talk about the books in question, because those who have called out these books as racist have criticised them better than I could. No, what I want to discuss is what some people are deciding to do after hearing that these books are racist: deciding to read them.
Yesterday, YA author Heidi Heilig posted a thread on Twitter that got right to the heart of what was bothering me - people hearing that these books are racist, and then deciding to read them, to judge for themselves. Go read her thread before continuing with this post, I'll wait. What bothers me is that these books are racist, people are calling them out for being so, people are being hurt and upset by the painful comments or references made in these books... and then people are deciding they will read those books to judge for themselves.
I'm sorry, but why do you need to judge for yourself? Do you not believe these people who have been hurt? Do you think that your thoughts and opinions are more valid, more important, than those who have already been hurt by these books? Do you want to read these books to argue with them about how they're wrong, or to pat them on the back for being right?
Do you want to check your privilege? Seriously - check your privilege.
If I'm on Twitter, and I'm seeing a lot of people in my timeline slating a book as racist - see a lot of people talking about how this book hurt and upset them - I'm going to trust that. I am going to trust that these people know what they're talking about. I trust that people aren't going to call a book out for being racist - or homophobic, or ableist, or anti-Semitic, and so on - just for the hell of it, for a laugh. This is a serious issue, people are not going to make up crap about a book. And most of the time, these people are backing up their statements with direct quotes from the book/photos of the text (do not talk to me about needing to see these quotes in context. The person who is quoting them has read them in context, so why do you need to? They are obviously racist as is, no context is needed). This isn't something they're making up to cause controversy or drama. They're calling out books for the crap they're pulling and seemingly getting away with because, look, it's been/being published.
So when people are telling me a book is racist, or harmful in any other way, I do not need to judge for myself. I will not be touching that crap. I will not sully myself with having to read horrific things that book says. I will not waste my time - or money - on a terrible book.
I will not be so offensive to those who have been hurt by said book to say that I am going to read it and judge it for myself. In case, what? They're wrong? Or that I'll know better? Or that they have misunderstood and I'll be able to better explain things to them? Seriously? Seriously?! Can you not see how bloody offensive that is. How it's adding insult to injury. How that's pretty much saying, "I don't believe you. I'm going to read it for myself, so I can decide whether it's racist or not. Because what I think is more important than how you feel." No. No. You cannot.
Like Donna of The Untitled Book Blog tweeted, by choosing to read these books, to "judge for yourself", you are putting money in the publisher's hands. You are saying that books that include this kind of crap sell. That this is what people want to read. And so another book is published. And another. Three. I can think of three books that people have been vilifying over recent months. Thankfully, one of those books hadn't yet been released and the publishers decided to postpone publication to fix the book beforehand. But god, the damage has already been done. People have already been hurt by that book.
You can argue that it's not the intention of the author to be racist, but that's not the point. It doesn't matter if they intended to or not, that doesn't change the fact that their book is racist and has hurt people. You may argue that not all people of colour find these books racist, but I fail to see how that makes any difference, when there are still many people who do, who have already spoken about being hurt by these books. Just because some don't find it offensive doesn't mean that those who do are wrong. It doesn't mean the pain they feel should be dismissed.
It's time we readers took a stand to say we're not putting up with this crap. It's time we were supportive and stood with those who have been hurt. It's time we stopped buying this crap, telling publishers we want more. It's time we said enough, that this is not ok, that it's time authors, publishers and all who work for them do better.
It's time we stopped deciding we must judge for ourselves, but instead choose to listen, trust, and believe those have been hurt. How about we show them some respect instead?
What do you think of people who choose to judge a book for themselves after being told it's harmful? Are you one of these people who has done so? Please talk to me about why you choose to do so, because I really don't understand.
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Tanya Patrice 19 March 2017 at 23:49
Completely in agreement! There are so many wonderful authors who could use our support, who we may never get to - so why waste time reading books written by an author in a racist way?! When you see multiple people calling out a book, with quotes etc. I say move on. Unless - of course - that's not important to the person.
Tanya Patrice
Jo 7 April 2017 at 10:55
Exactly! Exactly! I just don't understand it. I really don't.
Blazing Modesty 23 March 2017 at 16:02
I don't think it's ever wrong in principle to make up your own mind about something, but personally if I hear a book is racist or in some way offensive, I'm unlikely to read it. I think the problem is when people read stuff *just because* it's racist, as Tanya says, there are too many books out there to read for much better reasons. But for example, if you want to read a biography of someone with views you find offensive to try to understand their perspective, you can borrow it from the library or get a secondhand copy so they don't profit directly (I know they get a few pence for library issues, but it's better than buying). As much as I hate the phrase 'echo chamber', if we only expose ourselves to opinions we agree with, we will struggle to fully understand the world.
I suppose that's true. Though I'm not sure if I'd want to understand someone who wants to cause harm - in the respect of biographies of someone, instead of YA novels. With the YA novels, it seems that racism isn't intended, it's not necessarily the views of the author. But the book still *is* racist, and the author should do better. And I've not yet seen an author or publisher have their first response to be listening, apologising, and trying to fix things. It's always defensive first. And that just gets to me. You're being told your book has hurt people, and you're going to be defensive? I just can't. I won't read those books.
Nicole Hewitt 8 April 2017 at 19:16
I had to think hard about how to reply to this because while I understand the thought behind your argument, I don't know that I 100% agree. I don't feel the need to read the particular books you're talking about, but I don't know that I feel like we should condemn people for saying they want to judge for themselves. This sounds awfully close to censorship to me---if someone out there finds a book offensive, we tell people they aren't allowed to read it to determine their own opinion. I know that's not the spirit of what you're saying here, but when we start telling people how to think and feel about books and that they're wrong if they think or feel differently ... I don't know, it just doesn't sit right with me. In any circumstance.
Nicole @ Feed Your Fiction Addiction
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redpajama_set_name: RedPajamaCommonCrawl


One of the most frequent questions we hear is, "How can I make some extra money from home?" With the economy stagnant, retirement plans iffy and wages unchanged since Noah floated, it makes sense. And not only do home-based micro-projects help pay the bills, they can often beef up your network, your references and your morale.
Bear in mind, however, that it's still an employer's market, so you won't get rich, and it may take some time to land the work. But on the flip side, the web continues to enable companies to hire unlimited numbers of people for projects or operations of any size – aka crowdsourcing – and we expect this trend to grow.
Ways to earn extra money from home are also often discussed on forums like WAHM.com and WorkPlaceLikeHome.com.
1. Be a "ticket-puller." In the old days, if you were strapped for time, you could pay someone to stand in line for you to buy a ticket to a popular event. Now, it's also done virtually. "Ticket Pullers" get paid to log on and grab tickets to concerts, sports games and other popular happenings.
To buy the tickets, Ticket Pullers use the account of the company; they don't spend their own cash. They can be paid up to $50 for a successful "pull." However, there's no pay if they don't nab the ticket. For more, see TicketPuller.com.
2. Be a website tester. These days, everybody has a website, from the one-person home-based company on up. But website owners also want to know how their site looks and works when visitors come. Can you navigate it easily? Is the message clear? Do the graphics look good?
Website testers answer those questions and others, recording video and audio clips as they review the site. Pay averages around $10 per review, and reviews take less than an hour. For more, see UserTesting.com and Userlytics.com.
3. Get paid to go look at stuff. If you want to rent a house at a distant location, how do you know if the reality is going to match the online image? Suppose you want to buy a used car or boat or high-end sofa, but you can't check it out yourself? WeGoLook.com pays people to do the looking. "Lookers" receive $25 and up per completed assignment.
4. Get paid to give your opinion. Focus groups – people who give their opinion of a company's proposed service or product – have been around for a long time. Now, however, many assignments have moved online and the work is often done from home.
Pay varies according to the duration of the assignment. For more, see Panel.focusfwdonline.com and 2020Research.com.
5. Do anything for $5. If you have a talent for singing birthday songs, or you can analyze dreams with your intuition, or you're willing to do the chicken dance and record it on video, you can probably earn $5, too.
These are just some of the services recently offered at Fiverr.com, where people earn extra cash for an astonishing variety of skills. Good luck, and have fun!
This entry was posted in Earn Extra Cash and tagged Crowdsourcing, Fiverr.com, Focus Groups, Lookers, TicketPuller.com, Userlytics.com, UserTesting.com, WAHM.com, WeGoLook.com, WorkPlaceLikeHome.com. Bookmark the permalink.


text:
HomeReutersSenate Committee Approves Tax Reform Legislation
ReutersUS
Senate Committee Approves Tax Reform Legislation
Reuters 8:10 AM 11/17/2017 No comment
posted on Nov. 17, 2017 at 8:10 am
Senate Finance Committee Chairman Orrin Hatch and ranking member Ron Wyden take their seats for a markup on the "Tax Cuts and Jobs Act" on Capitol Hill in Washington, November 13, 2017. REUTERS/Kevin Lamarque
By David Morgan and Amanda Becker
WASHINGTON (Reuters) – Congressional Republicans took important steps on Thursday toward the biggest U.S. tax-code overhaul since the 1980s, with the House of Representatives approving a broad package of tax cuts, and a Senate panel advancing its own version of the legislation sought by senior lawmakers and President Donald Trump.
The House vote shifted the tax debate to the Senate, where a tax-writing panel finished debating and approved a bill late Thursday evening. That measure has already encountered resistance from some within the Republicans ranks. Full Senate action is expected after next week's Thanksgiving holiday.
Four Republican senators – enough to derail the legislation – have been talking privately about opposing the bill because it would balloon the federal deficit, according to a Time magazine report.
Trump, who is still seeking his first major legislative win since taking office in January, went to the U.S. Capitol just before the House vote to urge Republicans to pass the tax bill, which Democrats call a giveaway to the wealthy and businesses.
"A simple, fair and competitive tax code will be rocket fuel for our economy, and it's within our reach. Now is the time to deliver," White House spokeswoman Sarah Sanders said after the largely party-line House vote of 227-205.
Congress has not thoroughly overhauled the sprawling U.S. tax code since Republican Ronald Reagan was president. The House measure is not as comprehensive as Reagan's 1986 package, but it is more ambitious than anything since then.
The path forward for the tax plan in the Senate, where Republicans have a narrow majority, is fraught with obstacles about concerns over the deficit, healthcare and the distribution of tax benefits. Republicans can lose no more than two Senate votes if Democrats remain united in opposition.
Senate Republican tax-writers earlier this week made the risky decision of tying their plan to a repeal of the requirement for people to get healthcare insurance under former President Barack Obama's Affordable Care Act. That exposed the tax initiative to the same political forces that wrecked Republicans' anti-Obamacare push earlier in July.
'FIGHT IS NOT OVER'
The House bill, estimated to increase the federal deficit by nearly $1.5 trillion over 10 years, would consolidate individual and family tax brackets to four from seven and reduce the corporate tax rate to 20 percent from 35 percent.
It also would scale back or end some popular tax deductions, including one for state and local income taxes, while preserving a capped deduction for property tax payments.
Democrats have pointed to analyses showing millions of Americans could end up with a tax hike because of eliminated deductions. Repealing or shrinking some deductions is a way to offset the revenue lost from tax cuts.
"It's a shameful piece of legislation, and the Republicans should know better," House Democratic leader Nancy Pelosi told lawmakers before the vote.
Senate Democratic leader Chuck Schumer warned Republicans that by increasing the deficit, the tax bill would imperil other important priorities such as military spending.
Thirteen House Republicans opposed the bill, all but one from New York, New Jersey or California – states with high taxes where residents would feel the pinch from eliminating the deduction for state and local income taxes.
"This fight is not over. I look forward to continuing negotiations to improve this proposal for my constituents," said Republican Representative Lee Zeldin of New York, who voted against the bill.
Investors have cheered the prospect of a tax overhaul. U.S. stocks rose and the dollar edged higher against a basket of major currencies on Thursday after the House vote.
Brian Battle, director of trading at Performance Trust Capital Partners in Chicago, said stocks' strong gains on the day were helped by the House vote.
"It's helping stocks now and the bond market's turned around," he said. "The tax plan isn't a foregone conclusion, but it passed the lowest hurdle in the House. The even higher hurdle is to have something pass in the Senate."
ELECTION PROSPECTS
Republicans have long promised tax cuts and see enacting them as critical to their prospects of retaining power in Washington in the November 2018 congressional elections, particularly after failing to meet their promise to repeal the Affordable Care Act, better known as Obamacare.
But it will be a challenge in the 100-seat Senate, where Republicans have only a 52-48 majority.
Senators Jeff Flake and James Lankford are among the four Republicans considering opposing the plan, Time reported.
A Lankford spokesman said he was "eager to work with colleagues to pass tax reform."
Flake, who often clashes with Trump and has announced he will not seek re-election next year, told Reuters on Thursday he was "more worried about the fiscal problem" than other issues.
Several other senators, including Ron Johnson and Susan Collins, who helped sink the Republican effort to repeal Obamacare, have expressed concerns.
Johnson announced his opposition because of what he said were unequal rates for small businesses and non-corporate enterprises known as "pass-throughs," versus corporations. He is working with the White House to fix the issue, he told Reuters.
Senator John McCain, a Republican who also voted against the
healthcare overhaul effort this summer, and his colleagues Bob Corker and Lisa Murkowski, are also considered critical votes.
Nonpartisan congressional analysts say the provision to repeal the health insurance mandate in the Senate version would drive up premium costs and cause some 13 million Americans to lose coverage.
The Senate plan also sets individual tax rate cuts to expire while reductions for corporations are permanent.
If the full Senate approves its measure, it will have to be reconciled with the House version before legislation can be sent to Trump's desk for his signature.
Republican Representative Tom Cole said that should not be a problem. "There's no issue here that can't be ironed out and settled between us," Cole told reporters.
(Additional reporting by Susan Heavey, Susan Cornwell, David Alexander and Katanga Johnson in Washington and; Sinead Carew in New York; Writing by John Whitesides; Editing by Kevin Drawbaugh and Peter Cooney)
Tags:Tax reform
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A CHRISTMAS MIRACLE: Actual Governance Is Breaking Out On Tax Reform In Washington
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Peter Hasson 8:51 PM 12/02/2017


text:
/*
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *     http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package com.facebook.presto.sql.planner.optimizations;

import com.facebook.presto.common.block.SortOrder;
import com.facebook.presto.spi.function.FunctionHandle;
import com.facebook.presto.spi.plan.Assignments;
import com.facebook.presto.spi.plan.Ordering;
import com.facebook.presto.spi.plan.OrderingScheme;
import com.facebook.presto.spi.relation.CallExpression;
import com.facebook.presto.sql.planner.assertions.OptimizerAssert;
import com.facebook.presto.sql.planner.iterative.rule.test.BaseRuleTest;
import com.facebook.presto.sql.planner.iterative.rule.test.RuleTester;
import com.facebook.presto.sql.planner.plan.WindowNode;
import com.google.common.collect.ImmutableList;
import com.google.common.collect.ImmutableMap;
import org.testng.annotations.Test;

import java.util.Optional;

import static com.facebook.presto.common.type.BigintType.BIGINT;
import static com.facebook.presto.common.type.VarcharType.VARCHAR;
import static com.facebook.presto.metadata.MetadataManager.createTestMetadataManager;
import static com.facebook.presto.sql.planner.assertions.PlanMatchPattern.output;
import static com.facebook.presto.sql.planner.assertions.PlanMatchPattern.project;
import static com.facebook.presto.sql.planner.assertions.PlanMatchPattern.values;
import static com.facebook.presto.sql.planner.plan.WindowNode.Frame.BoundType.UNBOUNDED_FOLLOWING;
import static com.facebook.presto.sql.planner.plan.WindowNode.Frame.BoundType.UNBOUNDED_PRECEDING;
import static com.facebook.presto.sql.planner.plan.WindowNode.Frame.WindowType.RANGE;
import static com.facebook.presto.sql.relational.Expressions.call;

public class TestPruneUnreferencedOutputs
        extends BaseRuleTest
{
    /**
     * Test that the unreferenced output pruning works correctly when WindowNode is pruned as no downstream operators are consuming the window function output
     */
    @Test
    public void windowNodePruning()
    {
        FunctionHandle functionHandle = createTestMetadataManager().getFunctionAndTypeManager().lookupFunction("rank", ImmutableList.of());
        CallExpression call = call("rank", functionHandle, BIGINT);
        WindowNode.Frame frame = new WindowNode.Frame(
                RANGE,
                UNBOUNDED_PRECEDING,
                Optional.empty(),
                UNBOUNDED_FOLLOWING,
                Optional.empty(),
                Optional.empty(),
                Optional.empty());

        assertRuleApplication()
                .on(p ->
                        p.output(ImmutableList.of("user_uuid"), ImmutableList.of(p.variable("user_uuid", VARCHAR)),
                                p.project(Assignments.of(p.variable("user_uuid", VARCHAR), p.variable("user_uuid", VARCHAR)),
                                        p.window(
                                                new WindowNode.Specification(
                                                        ImmutableList.of(p.variable("user_uuid", VARCHAR)),
                                                        Optional.of(new OrderingScheme(
                                                                ImmutableList.of(
                                                                        new Ordering(p.variable("expr"), SortOrder.ASC_NULLS_LAST),
                                                                        new Ordering(p.variable("random"), SortOrder.ASC_NULLS_LAST))))),
                                                ImmutableMap.of(
                                                        p.variable("rank"),
                                                        new WindowNode.Function(call, frame, false)),
                                                p.project(Assignments.builder()
                                                                .put(p.variable("user_uuid", VARCHAR), p.variable("user_uuid", VARCHAR))
                                                                .put(p.variable("expr", BIGINT), p.variable("expr", BIGINT))
                                                                .put(p.variable("random", BIGINT), p.rowExpression("random()"))
                                                                .build(),
                                                        p.values(p.variable("user_uuid", VARCHAR), p.variable("expr", BIGINT)))))))
                .matches(
                        output(
                                project(
                                        project(
                                                values("user_uuid")))));
    }

    private OptimizerAssert assertRuleApplication()
    {
        RuleTester tester = tester();
        return tester.assertThat(new PruneUnreferencedOutputs());
    }
}

redpajama_set_name: RedPajamaGithub


text:
SPACEPOLICYONLINE.COM
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SpacePolicyOnline.com Your first stop for news, information and analysis about civil, military and commercial space programs
CNN: Bridenstine Says Artemis Cost is $20-30 Billion
By Marcia Smith | Posted: June 14, 2019 7:44 am ET | Last Updated: June 14, 2019 9:14 am ET
CNN Business reports that NASA Administrator Jim Bridenstine said the effort to return astronauts to the lunar surface by 2024, Artemis, will cost $20-30 billion over the next 5 years. Until now, no one in the Administration has been willing to say publicly what the cost estimate is, citing only the $1.6 billion FY2020 supplemental budget request as a down payment.
CNN's Jackie Wattles and Rachel Crane say that Bridenstine told them the number yesterday and comment that it is "less expensive that some had predicted."
NASA Administrator Jim Bridenstine. Credit: NASA/Bill Ingalls
The $20-30 billion would be about $4-6 billion per year. In April, Eric Berger at Ars Technia reported that NASA told the White House that it would be $8 billion per year for the next 5 years, but Bridenstine told the Senate Appropriations Committee that "It is nowhere close to that amount."
Congress has been waiting for that cost estimate as it readies both a new NASA authorization bill and a FY2020 appropriations bill. The House Appropriations Committee has completed action on NASA's FY2020 request already in the Commerce-Justice-Sciene (CJS) bill. It ignored the $1.6 billion supplemental request. The House plans to take up the CJS bill as part of its second "minibus" appropriations bill next week.
A top Republican on the House Science, Space, and Technology Committee, Rep. Mo Brooks (R-AL) tried to elicit an answer about Artemis's cost from NASA Science Mission Directorate (SMD) head Thomas Zurbuchen at a hearing earlier this week, but without success. (SMD is involved in only a small part of the Artemis program. Artemis is managed by the Human Exploration and Operations Mission Directorate.)
A NASA spokesman confirmed the CNN report re Bridenstine's comments.
Last Updated: Jun 14, 2019 9:14 am ET
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PLUTO AFTER NEW HORIZONS, July 14-18, 2019, Laurel, MD
LUNAR ISRU 2019: DEVELOPING A NEW SPACE ECONOMY THRU LUNAR RESOURCES (LPI), July 15-17, 2019, Columbia, MD
ASTRO 2020 STEERING COMMITTEE (Natl Acad), July 15-17, 2019, DC (open sessions on July 15 & 16 webcast)
UPDATED DATES
NEW SPACE 2019, July 16-18, 2019, Seattle
NATIONAL AIR & SPACE MUSEUM APOLLO 11 50TH ANNIVERSARY EVENTS, July 16-20, 2019, DC
FIRST SPACEX STARHOPPER HOVER TEST, July 16, 2019, Boca Chica, TX
NEIL ARMSTRONG'S SPACESUIT BACK ON DISPLAY AT NATIONAL AIR AND SPACE MUSEUM, July 16, 2019, DC, 10:00 am ET
APOLLO 11 LAUNCH CELEBRATION (NASM), July 16, 2019, Udvar-Hazy Center, Chantilly, VA, 9:00 am ET
APOLLO 11 LAUNCH REFLECTION WITH BUZZ ALDRIN AND MIKE COLLINS AT LC-39A, July 16, 2019, KSC, 9:15 am ET (webcast)
SASC NOMINATION HRG FOR MARK ESPER TO BE SECRETARY OF DEFENSE, July 16, 2019, DC, 9:30 am ET (webcast)
AUGMENTED REALITY SIMULATION OF APOLLO 11 LAUNCH AT JFK LIBRARY, July 16, 2019, Boston, MA, 9:32 am ET (YouTube/ Facebook)
HOUSE SS&T HRG ON LEGACY OF APOLLO, July 16, 2019, DC, 10:00 am ET (webcast)
FILLING THE VACUUM: HARNESSING INNOVATION & SECURING SPACE (CSPC-NSI), July 16, 2019, Arlington, VA, 12:30-3:00 pm ET
APOLLO 50TH GALA AT KSC--PANEL WITH APOLLO ASTRONAUTS ET AL, July 16, 2019, KSC, 8:45 pm ET (Available by WebEx)
NASM PROJECTS SATURN V ONTO WASHINGTON MONUMENT, July 16-18, 2019, DC, 9:30-11:30 pm ET
SENATE COMMERCE CMTE HRG ON NASA'S MOON/MARS EXPLORATION PLANS, July 17, 2019, DC, 10:00 am ET (webcast)
IAC BRIEFING: SPACE TRAFFIC MANAGEMENT (AIAA et al), July 17, 2019, DC, 12:00-1:00 pm ET
SMALL STEPS AND GIANT LEAPS: HOW APOLLO 11 SHAPED OUR UNDERSTANDING OF EARTH AND BEYOND, July 17, 2019, DC, 7:00 pm ET (livestream)
APOLLO 50 FESTIVAL ON THE NATIONAL MALL, July 18-20, 2019, National Mall, Washington, DC
THE AEROSPACE INDUSTRY'S CONTRIBUTION TO APOLLO (Atlantic Council), July 18, 2019, DC, 10:30 am-12:30 pm ET
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I would take a lot of sewing but I'd love to do a woodland theme in my daughter's room.
Take a combination of all these rooms.
The toadstool cushions are my favorite.
I love these rooms! When we move, I plan to paint a tree in the nursery! Thanks for sharing.
Oh, but what fun sewing it would be. And think: not fitting issues at all!
These are some sweet rooms!
Oh my gosh! I am in LOVE with the owl and birds on the fabric tree branch.. I think that I may just have to beg my daughter to let me redo her room owl style! Thanks for sharing!
Oh, the paintings on the walls are amazing, especially the blue wall. Definitely an inspiration!
I remember seeing that room with the grassy ottoman and the felt apples before and thinking how much I would have LOVED a room like that as a girl. Actually, who am I kidding? I'd love a room like that NOW! :) Big fan of the toadstools, as well.
Great inspirations! I really like the woodgrain rug.
My sister has painted her daughter's room as a fairytale scene, with the ceiling all blues with light wispy clouds, the walls with green hills and grass with little paths, a big pinky-purple castle on one wall, a pond on the other and a tree on the final wall!
If that wasn't awesome enough, she and her husband put posts in certain places, and then made large wooden cutout characters to pop on the posts, which they can change over as my niece gets older.


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Diestostemma rubriventris är en insektsart som först beskrevs av Schmidt 1928.  Diestostemma rubriventris ingår i släktet Diestostemma och familjen dvärgstritar.

Artens utbredningsområde är Peru. Inga underarter finns listade i Catalogue of Life.

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                Tip Vista Mapa

            Este mapa muestra la ubicación geográfica de los oferentes con respecto a la tuya

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                  18 Abril 2014

                Necesito unos pantalones azules con bolsillo cuadrado, bota angosta y que sea muy barato

                Ropa, Pantalones, Deporte

                      Que me pongo

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                    Todo lo que necesitas aqui lo tenemos

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Advanced process control: More answers
After a webcast on "Advanced process control: Past, present and future," more answers to audience questions are provided by the webcast speaker covering advanced process control (APC) to help with process optimization.
By Allan Kern January 15, 2020
Advanced process control (APC) comprises a number of tools and techniques whose common characteristic is taking process automation beyond the limits of single-loop control and into the realm of multi-loop (or multivariable) control. The Jan. 9 webcast, "Advanced process control: Past, present and future," aims to help process engineers (also known as production or operation engineers) increase understanding of how modern control systems can improve process performance and optimization.
At the end of the webcast, registrants viewing live ask questions. Below are additional questions and answers the webcast didn't have time to address. If there are any additional questions for Kern, contact him here.
Question: Please explain more about what you meant when you said MPC has invested a lot of unplanned resources.
Answer: Model-predictive control (MPC) has invested a lot of resources over the last several decades, both users and suppliers. The question is whether that has been done in a planned or unplanned way. The industry should have evolved towards multi-loop control (MLC) — more agile, lower cost, easier to use tools.
But instead, most effort has been struggling with model quality, optimizers, and matrix design. The struggle continues and the cost and complexity of ownership has not come down; if anything, cost and complexity have increased.
Industry has learned why these issues won't be solved (in the case of modeling), or why maybe they are not worth solving at this point (in the case of optimization).
Industry should move on to more manageable and promising APC 2.0 solutions with the benefit of this experience.
Q: How can the "mighty matrix" be more significant in APC than models can?
A: This is a good question; the matrix is a relatively simple concept, while model-based control is a very advanced control concept, so logically counts for more.
But the point is, like a single-loop trend vs. the proportional-integral-derivative (PID) algorithm itself, the matrix is a simple tool that allows better visualization and understanding of multivariable control, and ultimately that can be more impactful than the nitty-gritty of the algorithm itself, if that makes sense.
Also, industry is realizing more ways to do multivariable control beyond MPC. The matrix is a basic underlying tool, regardless of how it's carried out — manually, MLC, or MPC.
Q: I have seen papers online under both APC Performance and Lin & Associates in your name. What is the difference?
A: APC Performance is my control consulting business, but I also work closely with Lin & Associates (L&A), based in Phoenix. L&A is a well-known medium-sized control system integrator in Phoenix, for more than 25 years, with many long-term Fortune 500 clients in oil and most other industries. In addition to L&A's traditional business, I am partnering with L&A to develop APC 2.0 tools for industry.
Q: What industries other than HPI do you have experience? What is the longest in-service application you have? How prominent are services in long-term APC support?
A: The MLC tools mentioned are available already, with some applications having been online several years. The controllers have run essentially 100% uptime and maintenance free.
I have worked in hydrocarbon processing industry (HPI), chemicals, and power. L&A, the system integration firm mentioned above, has experience in virtually all industries: oil, gas, chemicals, power, paper and some commodities.
Q: Does an APC always guarantee plant running at optimal conditions? Does the multi-loop ensure this?
A: APC guarantees the plant is running at optimal conditions, if:
The APC application itself is running.
It is not wrongly constrained or defeated by pinched limits, clamped manipulated variables (MVs), etc.
It has the correct matrix.
MPC complexity and fragility have worked against achieving these, as has the large matrix design paradigm.
A goal of MLC is to transcend these "fragile" sources of breakage.
Q: What about benefit estimation, performance monitoring and maintenance?
A: The first and often most important benefit is the intrinsic benefit of closing loops. Everyone in process control understands this is the goal. In many applications, this is sufficient justification, especially if cost is low (MPC cost is high, so greater justification has been needed).
In MLC, just like MPC, in some applications, benefits can be quite high. I'm working an application now that is estimated to be worth several hundred thousand dollars annually. In APC 1.0, it's been well known that a large part of the benefits often come from just a few variables or just a few models, not the entire matrix. Performance monitoring is an accidental sideline — one of the unplanned activities, and essentially impossible, as I mentioned under performance criteria — error minimization vs. safe driving habits. Under MLC, I see performance monitoring, as we've come to think of it under MPC, going away.
Q: What about APC creates value?
A: The obvious and intrinsic benefits of closing loops provide value and simple, reliable MLC control. That's important.
Q: Regarding adaptive gain, when should non-linear gain be used?
A: First, I would emphasize using cascade where possible. Cascade and adaptive gain are complementary. Cascade linearizes gain, instead of using adaptive gain.
Beyond that, honestly, I'm not a big fan of adaptive gain in practice. It is useful as a learning tool, to illustrate how control algorithms work, but is often troublesome in practice. Like unnecessary use of feedforward, adaptive gain requires assuring the model matches the process, and if not, performance may be made worse for all your trouble.
Nor am I a big fan of gap gain in level control, something which also gets more attention than it warrants, in my view. See "Top 10 tuning tips for control engineers."
In most cases, I would rather use an average gain (or the minimum gain, as the application dictates) and see if I can live with that.
Q: When talking about APC, where do split-range control, ratio control, and the Smith predictor fit in?
A: I would place these in the category of advanced regulatory control (ARC). These are all three important tools to have in your box, along with feedforward and override. And maybe also adaptive gain or cascade.
Q: What is the operating envelope?
A: Slides 20 and 21 in the webcast show a pentagon representing the operating envelope. The circle is the minute-to-minute operating region, while the pentagon is the overall envelope (or window). The two-step goal of APC is to put the operating region within the envelope, and then move it in a direction of greater optimization to the extent it can.
Q: Aren't models still needed (lag time, process gain and dead time) for controller tuning?
A: Yes. As a feedback controller, MLC (or my version, model-less multivariable control called XMC), will have some basic tuning needs, but also latitude in reliable values, and with a conservative or safe direction to err on the side of stable performance. It's similar to PID in this regard, but is unlike MPC, which depends on model accuracy.
Q: How would you know when to go for MPC, and not end up with a bunch of MLC solutions?
A: Appropriate MPC applications are well established by now. Use the technique shown in the presentation to identify MLC applications. In most cases, the applications will be operationally problematic, in terms of creating numerous operator interventions and alarms, i.e. most applications will "find you", once you realize how to spot them.
Q: What programming languages are required to design a non-in-built distributed control system (DCS) MPC?
A: A custom reusable function block, now available in most modern DCSs and programmable logic controllers (PLCs), is the target deployment mechanism, although with today's flexible technology, other options present themselves. Visual Basic (VB) or C++ is good.
Q: What platforms do you expect will support MLC? Embedded controllers or servers, or what?
A: DCS control layer and (with more limits) PLCs can support MLC. In some cases, users may prefer a generic network-based solution, but this adds back complexity and other issues for the owner/operator.
Q: Should an MPC require continuous data for the step/pre-testing?
A: Theoretically not necessary, but in a continuous run, there is more continuity and ability to spot potential plant events that may cause data irregularities.
Q: Not enough emphasis was given to the need that we engineers KNOW our processes inside and out.
A: I agree completely. In MLC, the matrix is designed based on existing (or desired) manual multivariable control methods, that is, it is based on automating the way the operating team already knows how to manage constraints and optimize variables.
Q: A major process industry software provider… now offers online dynamic model updating in a couple of forms. Are you familiar with this and have you seen any related applications?
A: I am familiar with the software you mention, but have not used it. This represents the auto-tuning story all over again, which is one of the big past lessons that I did not have time to address in the presentation. Auto-tuning can be looked at as an attempt to create an "adaptive model" for a single loop. For the most part, industry failed at this, despite a lot of trying. So, how likely is it to succeed on a multivariable basis that is geometrically bigger and more complex? This adds yet another layer of cost and complexity to MPC, with, in my view, doubtful prospects. I wrote about this in a related Control Engineering article: "Pros and cons of autotuning—the big story."
Q: Moving towards a more feedback-centric (as opposed to model-based) paradigm, will MLC be able to respect constraints/limits as well as MPC currently does?
A: I believe so. For example, a simple override is actually a multivariable constraint control and optimization tool: The normal setpoint is the optimization target; the override setpoint is the constraint limit; the selector is a 1×2 matrix; and below the selector is the MV. We know these overrides are absolutely reliable and do not use models or optimizers. These well-performing ARC configurations exist throughout the industry and nobody ever considers that they may need or benefit from a model (although technically, if you were to do it with MPC, there would be a model between the MV and constraint variables). But we know that is not necessary. I think the industry will find the feedback MLC will solve many multi-loop problems simply and reliably.
Q: Do you have data that indicates the longer-term performance problems and maintenance requirements of MPC? Can you share this data? You made some very solid points, and some data to back it up would be good.
A: Nobody has or publicizes such data, but, slowly, over the years, the story has emerged, and is now generally accepted, even if people still don't talk about it very openly. A high-available MPC with high utilization is rare; low availability and low utilization are more often the rule than the exception. I have been publishing on this topic since 2005. At some point, I discerned the root problems — short-lived models, the mistaken assumption of error-minimization performance criteria, and oversized matrix designs that exacerbate the first two root issues. At that point, I began suggesting changes, rather than fixes, which has led me to MLC.
Q: How about using closed-loop model-identification techniques in the maintenance of MLC or MPC?
A: I am not a fan of detailed model-identification in general. The majority of models add maintenance and risk while costing money and time. Wherever possible, use feedback. You will know where a feedforward model is needed, because it will be kicking you in the tail operationally. In most of the limited number of cases where a feedforward model is truly needed, it already exists in the base layer controls. I am especially doubtful about "adaptive modeling." See my prior answer on this topic and related article link.
Q: Are you familiar with Cooper, C.D., Alley, F.C. and Overcamp, T.J.; (1982); Environmental Progress; 1; 129?
This is a model-based analysis method that can be adapted to MPC. It is generic to a single process — thermal oxidation of VOCs — with the parameters different for different VOCs. This is clearly a form of MPC that would work well in your middle-range of four independent variables and one dependent variable. I don't think many thermal oxidizer owners are using MPC, but I think they might want to try it as a means of optimizing quality (i.e., high destruction) while minimizing fuel consumption (i.e., low operating temperature). See also Martin, R.J.; (2019); "Advanced Quality Methods for Thermal Oxidizer Operation"; Paper #71EA-0175; presented at 11th U. S. National Combustion Meeting; Pasadena, California, March 24-27, 2019.
A: I am afraid I am not familiar with the method mentioned, but here are my thoughts based on the excellent question. I think there are many high-speed multi-loop applications out there in the middle matrix range that have not been served by MPC, since MPC is expensive for mid-range matrix designs and (more to the point) cannot execute at 1-second, as MLC can. This appears to be one of those applications, based on your description. Moreover, the faster loops are, the less model-based control is needed, and the more effective feedback can be. I would like to consider one of these applications using our MLC tools.
Q: Doesn't performance depend on the definition of the error?
A: I agree. Please see my answer (below) regarding the mistaken assumption of error-minimization performance criteria, which is also described in the webcast slide 24.
Q: What about dynamics, process changes?
A: Many or most of the dynamic questions, such as inverse-response, become less important or troublesome when feedback is used. Inverse-response is mainly a problem that came out of model-based control (you never heard of it before then). Model-based control first high-lighted the ability to handle inverse response, then turned around and provided detuning knobs to ignore fast dynamics! Similarly, model-based control is theoretically good for deadtime, but cannot handle not variable deadtime, which most applications are (based on feed rate changes). Deadtime always needs to be considered, even in feedback. (See the article on Control Engineering "What is rate-predictive control?")
The following questions were verbally answered in the webcast, but the answers provided below offer more detail.
Q: Please clarify how MLC would do optimization without optimizers?
A: First, as on slide 23, optimization occurs at business level, where all the needed tools and information are available.
At the control layer, or APC layer, optimization refers to how excess MV availability, or degrees of freedom, is used. (It's a two-step objective; refer to slide.)
So the question becomes: Where do the APC optimization targets come from — Production Planning & Optimization (PP&O), engineers and operators, and sometimes live calculations. They really can't come from control-layer optimization, because there is no information available there outside of the controller itself. By the way, most targets rarely change; a limited number may change daily, and that comes down in the PP&O plan.
Unfortunately, optimization is a critical aspect that has been poorly understood throughout the APC 1.0 era.
Q: I don't follow how error-minimization is a mistaken assumption? (If not error minimization, what?)
A: If you've been a control engineer a long time, you can see a pattern… sites embark on tuning/modeling campaigns, followed by periods of detuning or move suppressing.
The problem is, error-minimization is an aggressive criterion leading to fast/large MV movement, and excessive overshoot and oscillation.
In industrial process operation, these are the least desirable performance characteristics. It is much more important to get to setpoint at safe speed and with minimum overshoot or oscillation.
Unfortunately, this (latter) type of performance does not lend itself to easy or mathematical measurement, but can only be gleaned by overall metrics, such as loops in manual, multivariable loops in manual, number of alarms, etc.
Q: There are many questions about artificial intelligence (AI), deep learning, Industrial Internet of Things (IIoT), recovery time objective (RTO), etc. What are their implications for APC?
A: AI is an exciting field, but it's not really my field, and I don't see it having a big impact on APC within my (now somewhat limited) time horizon.
I see AI as a tool to do things faster, but not necessarily better. If modeling cannot solve the problem with all the effort we have seen, then I don't think AI is going to work, until we understand the nature of the problem.
Somewhat surprisingly, even to those of us in the business, most plants are highly variable, not the same week to week — many variables change, and there seems to be an endless supply of new types of disturbances.
Industry saw this in benchmarking; we've seen it in APC modeling; and we've seen it in neural networks for inferentials.
So, my hat is off to the AI crowd, but it's not too big on my radar at this time. At least not for APC.
Q: How does model-less APC work?
A: Model-less can basically be thought of as feedback, whereas model-based is basically feedforward.
That said, the algorithms used in our MLC tool (XMC) have been patented. They represent the industry's only "inherently adaptive" control algorithm, and the only "model-less" method of multivariable control. And they are uniquely well suited to multi-loop applications.
Q: Fuzzy logic (FL) does work when applied correctly. I have direct experience with that. The key is having a solid understanding of the process and appropriate application of FL.
A: Thanks for that feedback. As I say, fuzzy logic always comes up, so there must be some satisfied users out there. In continuous APC, we normally do not need or avoid any kind of discontinuous breakpoints. That's one reason I don't even like gap level control (although I have additional reasons for that as well).
Q: Please discuss fuzzy logic and feed-forward control.
A: Fuzzy logic always comes up in the discussion, but I have never used it.
Feedforward, on the other hand, is a very important topic — every control engineer should know it; it's not complicated. Feedforward is the single-loop equivalent of model-based control. It's an essential or critical technique for some applications, but only on a very selective basis. It's not meant to be used in a shotgun way as it has been in used in APC 1.0.
As mentioned, you don't need to worry about missing a feedforward model — it will find you. Deadtime control is also critical; learn to use smith predictor with variable deadtime.
These topics may be covered in more detail in a future webcast.
Allan Kern, P.E., is owner, APC Performance LLC. Edited by Mark T. Hoske, content manager, Control Engineering, CFE Media, mhoske@cfemedia.com.
KEYWORDS: Advanced process control (APC), multiloop control (MLC), matrix
More answers after webcast on past present and future of APC
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Author Bio: Allan Kern, P.E., is owner, APC Performance LLC. He has over 30 years of advanced process control (APC) experience and has authored numerous papers on cost-effective APC solutions. He is the inventor of an inherently adaptive control algorithm and a model-less method of multivariable control. He is a 1981 Chemical Engineering graduate of the University of Wyoming and has professional engineering licenses in Control System Engineering and Chemical Engineering.
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