text:
\section{Results}
We have calculated the vibrational properties for a total of 23 \cite{supplemental} clusters made of
InP, InAs, GaP, GaAs, CdS, CdSe, and CdTe.  In this letter we extract the essence of
these calculations and will select representative results.
The vibrational DOS of InP and CdS NCs and bulk are plotted with a broadening of 0.8 cm$^{-1}$
in Fig.~\ref{fig:vdos}.
Although formally transverse- and longitudinal acoustic (TA, LA), and optical (TO, LO) modes seize to exist in a
cluster, the comparison with the bulk Fig.~\ref{fig:vdos}(e)(j) reveals an obvious bulk  parentage.
At this stage, we make three observations: First, the III-V materials [illustrated by InP in Fig.\ref{fig:vdos}(a-d)] show a blue shift
of LO-, TO- and LA-derived cluster modes with decreasing size,
while II-VI materials [illustrated by CdS in Fig.\ref{fig:vdos}(f-i)] show no such shifts. Second, the surface modes tend to
completely fill the acoustic-optic phonon gap in II-VIs, while a gap remains for III-Vs. Third, the ``broadening" of the bulk
optical phonon branches induced by the confinement is larger for II-VIs than for III-Vs.
\begin{figure}
\centerline{\includegraphics[width=3in]{Size_VDOS.eps}} \caption{
(Color online) Vibrational density of states (DOS) contributed by core atoms (black) and surface atoms
(red) for (a)-(d) InP clusters, (e) bulk InP, (f)-(i) CdS clusters and (j)
bulk CdS.
}\label{fig:vdos}
\end{figure}

In order to understand these three effects, we plot in Fig.~\ref{fig:size_bond}
the nearest neighbor distances of relaxed III-Vs and II-VI NCs as a function of the
distance of the respective bond to the cluster center.
In all cases, the bond length at the dot center is reduced through the presence of the surface. For all the NCs studied, besides CdSe and CdTe, we find that  for R=15 {\AA} the bond length at the center has almost recovered and is 99\% of the bulk bond length. CdSe and especially CdTe recover their bulk bond length slower.
The bond length distribution looks qualitatively different for the III-Vs and for the more ionic II-VI materials. For III-Vs the surface shells show a successive reduction of bond length, going outwards, while II-VIs show a large bond-length distribution, as previously observed for small clusters\cite{puzder04a}. The overall reduction of bond length in III-Vs along with the positive Gr\"{u}neisen parameters (describing the change in phonon frequencies with volume) explains the blue shift of the LO-, TO- and LA-derived cluster modes (first observation above). The lack of shift in the TA modes stems from the small negative Gr\"{u}neisen parameter for this branch. We attribute the  large bond-length distribution at the surface of II-VIs to the long-range ionic interaction and connect it to the broadening of optical branches and the filling of the phonon-gap (second and third observations above).
\begin{figure}
\centerline{\includegraphics[width=3in]{bond_length_new.eps}} \caption{
(Color online) Bond length distribution as a function of their distance to the dot center. For (a) InP, (b) CdS, (c) III-Vs and (d) II-VIs.
LDA bulk bond lengths are given as dashed lines.
}\label{fig:size_bond}
\end{figure}

Experimentally,  the vibrational properties are mostly explored {\it via} Raman scattering. To compare our results with experiment we have calculated the Raman intensities in Fig. \ref{fig:Raman} using the theory proposed by Richter \emph{et al.} \cite{RICHTER81},
\begin{equation}
\label{eq:raman}
I(\omega)\propto \sum_{n,\nu,\bm{q}}\frac{|C_{n,\bm{q}}^{\nu}|^{2}}{(\omega - \omega^{\nu})^{2}+(\Gamma_0/2)^2},
\end{equation}
with our {\em ab initio} projection coefficient $C_{n,\bm{q}}^{\nu}$ and dot vibrational frequency $\omega^{\nu}$. For
the natural Lorentzian linewidth we use 2 cm$^{-1}$ and the coefficients $C_{n,\bm{q}}^{\nu}$ are summed up to $\Delta q \approx 1/(2R)$.
\begin{figure}
\centerline{\includegraphics[width=3in]{Raman_CdS_CdSe_LO.eps}} \caption{
Calculated Raman spectra for CdS and CdSe nanocrystals for different sizes.}\label{fig:Raman}
\end{figure}

Although NCs with diameter down to 2 nm can be produced, Raman shifts have been reported for NCs with more than 3 nm diameter. Only our largest NCs reach this size and we focus in Fig. \ref{fig:Raman} on clusters with radii around 15 {\AA} and 16 {\AA}.
For CdS and CdSe we obtain a small red shift of the most intense Raman peak with decreasing NC size. This is in agreement with experiments (CdS \cite{Verma00}, CdSe \cite{dzhagan09}), although experiments are performed on ensemble of NCs and a proper comparison would require an average over several NCs, allowing for small variations in shape and surface morphology. A nearly constant Raman peak \cite{guzelian96,Seong03} was reported for large InP clusters, which is consistent with our results for radii from 14.5 to 15.6~\AA~ in Fig.~\ref{fig:vdos} (c) and (d). We note that 4 meV blue shifts have been reported for InP (110) surfaces\cite{nienhaus95}.

We now proceed to quantitatively analyze the bulk parentage of the cluster modes according to the projection in Eq.~(\ref{eq:proj}).
From Fig.\ref{fig:vdos} we can see that besides some modes in the gap and at very low frequency, the modes are generally mixed bulk-surface (red and black) modes. This is true up to our largest clusters, although the surface character of ``bulk" modes has significantly decreased compared to the small clusters.
In Fig.~\ref{fig:proj} (b) and (d), we show the vibrational DOS of InP and CdS clusters,
where the character (TA, LA, TO, and LO) of the modes are color coded (black, red,
green, and blue, respectively). The phonon dispersion
curves of bulk InP and CdS are plotted in Fig.~\ref{fig:proj} (a) and (c). From
Fig.~\ref{fig:proj} (b) and (d), we see that the cluster eigenmodes have either optical
or acoustic character with virtually no mixing. Interestingly, the ``pure'' surface modes
which vibrate with frequencies below the lowest core modes have purely acoustic
character and the modes within the gap, between the acoustic and optical modes, have
purely optical character. These surface modes can be described as ``surface acoustic'' (SA) and ``surface optical'' (SO) modes,
respectively.
We note that in principle, a mixing of acoustic and optical modes is allowed from symmetry
arguments. Indeed, both acoustic and optical modes have the same symmetry within the $T_{d}$
point group\cite{Yu10}, and we can see small mixing around the frequency of SO
modes in Fig.~\ref{fig:proj} (b) and (d).
From Fig.~\ref{fig:proj}, we also notice that the transverse and longitudinal
character of the mode gets lost in the cluster, which shows fully mixed
transverse-longitudinal modes.
This mixing is introduced by the lack of translational symmetry.
In NCs, the propagating waves with various wave vector $\bm q$
are combined into standing waves, pictorially via reflections at the boundary.
This result is consistent with the experimental measurements \cite{krauss96}, where Raman activity was measured
for frequencies around the TO-branch.
\begin{figure}
\centerline{\includegraphics[width=3in]{Proj_bulk.eps}} \caption{
(Color online) Bulk phonon dispersion curves for (a) InP and (c) CdSe. Vibrational DOS projected onto the bulk modes for
(b) InP and (d) CdS NCs.
}\label{fig:proj}
\end{figure}

Besides the mixing of transverse and longitudinal characters, confinement has a direct effect on the
lowest non-zero vibrational
frequency. Similarly to classical waves confined in one dimension, the
vibrational frequency of the longest wavelength in a NCs can be described as
$f_{min}=v/2d$. Here, $v$ is the velocity of sound and $d$ is the diameter of the cluster.
In Fig.~\ref{fig:as}, we plot the size-dependent lowest frequencies $f_{min}$
calculated from the longitudinal and transverse sound velocities as solid and dashed curves.
As circles and crosses we plot the lowest core and SA modes obtained from the DFT
calculations. We see that the lowest modes with dominant bulk character follow closely the analytic
$1/R$ dependence.
\begin{figure}
\centerline{\includegraphics[width=3in]{low_freqency.eps}}
\caption{(Color online) Lowest modes with bulk character (circles), surface acoustic modes (crosses), lowest breathing modes (triangles) and experimental results \cite{oron09,saviot98} for the coherent acoustic modes (square and diamonds). Lowest spheroidal mode according to the Lamb model (dashed dotted line), according to the confined bulk model using the sound velocity of the TA- (solid line) and LA-branch (dashed lines).}\label{fig:as}
\end{figure}
The SA modes have the lowest frequency since they can run over the surface of the cluster. They are
however strongly affected by the morphology of the surface and their frequencies are not monotonous with cluster size.
One last important type of modes are the so called coherent acoustic modes. These are breathing modes, where all the atoms vibrate in phase.
These modes have been observed with Raman spectroscopy, far-infrared absorption spectroscopy, and resonant high-resolution photoluminescence
spectroscopy\cite{krauss97,saviot98,chilla08,oron09},
and are now the center of attention when the manipulation of spins and the spin-decoherence is investigated.
We plot our results as triangles in Fig.\ref{fig:as}, the experimental results as diamonds and the results of the
Lamb model\cite{lamb82} as dashed dotted line. Our results are in good agreement with the experimental results (although our clusters sizes are still somewhat smaller than experiment in the case of InAs) and with the simple Lamb model. In the continuum Lamb model, only the bulk transverse and longitudinal sound velocity enters. It may therefore be surprising to give such a good description, although we described that the clusters  undergo strong lattice relaxations, absent in a continuum description. We attribute the validity of Lamb model to  the small dependence of the sound velocities on the bond-length (2\% change for a lattice deformation of 0.1~\AA) and the collective nature of the modes, where an averaging of the lattice deformations (especially for II-VIs) is a good description.

By studying the vibrational properties of III-V and II-VI NCs with up to one thousand atoms  via
\emph{ab initio} DFT we identify the following confinement effects. The LA, TO and LO-derived
cluster modes of  III-V clusters significantly blue shift with decreasing cluster size. For II-VI clusters this shift is
absent but the broadening of bulk derived modes is significant and the gap between optical and
acoustic phonons is filled by surface modes.  We can clearly ascribe these observations to the large
relaxation of the clusters dominated by: an inward relaxation of the surface penetrating deep inside the cluster in case of the III-Vs and
a large distribution of bond length at the surface of II-VIs. These strong confinement effects tend to disappear for clusters with more
than 1000 atoms, where a small red shift of the Raman peaks (we can see for our largest clusters) remains, due to a softening in response to undercoordination. The modes are all fully transverse-longitudinal mixed but surprisingly distinct in terms of their optical acoustic characters. We find surface optical modes in the phonon gap and surface acoustic modes as the lowest frequency modes. The {\it coherent acoustic phonons} are identified and found to be in good agreement with results from the Lamb model and experiment. We explain why the simple model by Lamb gives an accurate description in case of the breathing modes while the vibrational properties of small NCs are poorly described by continuum models in general.

\begin{acknowledgements}
We acknowledge financial support by the Marie Curie Reintegration Grant. Most of the simulations were preformed on the national supercomputer NEC Nehalem Cluster at the High Performance Computing Center Stuttgart (HLRS).
 \end{acknowledgements}

redpajama_set_name: RedPajamaArXiv


Some of the most insidious security breaches by any adversary into US infrastructure, organizations and networks go undetected. It is the mission of the National Counterintelligence and Security Center (NCSC) to lead a whole-of-nation counterintelligence and security effort – all of US Government, and the US private sector – to protect against penetrations of our government, information networks, and academia, by foreign and other adversaries. In a moderated conversation, Director William Evanina profiles the threat and lays out how the NCSC is uniquely positioned to integrate the tremendous assets of the counterintelligence and security communities through collaboration and partnerships, to achieve mission success. The conversation will be moderated by NPR Counterterrorism Correspondent Dina Temple-Raston.


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text:
Becky Warren Documents The Struggle And Triumph Of The 'Undesirable'
By Brittney McKenna
Published October 11, 2018 at 3:01 AM MDT
Becky Warren's new album, Undesirable, comes out October 19.
Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify and Apple playlists at the bottom of the page.
One of art's greatest qualities is its ability to give voice to the voiceless. When rendered in song, little-heard stories can find broad audiences, bridging gaps and building connection between disparate communities and lines of thought. The phrase "now more than ever" is wildly overused these days, but songs of this nature have taken on a heightened significance as divides across class, race, gender and party lines have grown wider and deeper since the 2016 presidential election.
On Becky Warren's sophomore album, the Nashville-based songwriter uses her platform to share the untold stories of the city's homeless and formerly homeless population. Warren found inspiration in Nashville's street paper The Contributor, striking up conversations with street corner vendors about their lives, work, families and struggle to find housing. Many of these stories directly inspired the narratives found in the songs on Undesirable.
Warren's previous release War Surplus traced the life of an Iraq war veteran and his girlfriend, a relationship that drew from her own life experiences. That album, her debut, gave nuanced voice to a demographic about which so many often speak in empty platitudes and masculine stereotypes. It gave shape to the myriad difficulties, like PTSD and depression, faced by our veterans at home, and finds a like-minded companion in Mary Gauthier's 2018 album Rifles and Rosary Beads. Undesirable is similarly complex, dispelling stereotypes about homelessness and its causes by revealing the humanity within the roadside paper vendors too many dismiss on their daily commutes.
Most of the tracks here don't read as songs about homelessness, at least not on cursory listen. They chart heartbreak, new love, tough odds and quiet triumph in relatable ways, with a telling detail here or there that hints at each protagonist's broader life situation. On "Highway Lights," which dabbles in a modern, Jason Isbell-esque Southern rock, the narrator imagines a better life before revealing, "Now I'm old, older than I ever thought I'd be, sleeping 'neath the auto parts store marquee." Standout track "Carmen" is a love story told through dreams of "making ends meet" and finding a "little blue house."
While the topics on Undesirable are often tough, much of the music itself is hopeful, even joyful. "You're Always Drunk" is a spirited, humorous kiss-off to a drunk lover built on chunky, fuzzy guitar riffs, gauzy pedal steel and a punchy bass line. Lost-youth anthem "Nobody Wants to Rock N Roll No More" could be a Lucero song, with bluesy guitar licks filtered through a decidedly punk rock attitude. Collaborators include producer Dan Knobler and the Indigo Girls' Amy Ray, who guests on opening track "We're All We Got."
The album closes with "The Drake Motel," a driving rocker that recalls Lucinda Williams and tells of a lonely soul recounting loss love from a stark, cheap hotel room. It ends on a hopeful note, though, the narrator declaring, "I've got nothing left these days though I'm still out here on my feet / But oh, I'm moving slowly." In Warren's "undesirable" world, moving, even slowly, is a revelation, one we could all do well to celebrate in our own lives.
Brittney McKenna
See stories by Brittney McKenna

redpajama_set_name: RedPajamaCommonCrawl


Curacao Marine Park | Caribya!
Stretching from the Breezes Hotel to the eastern tip of the island is this unofficially protected area. Currently, the law does not make it a designated marine preserve, but they are working towards that goal and continue to remain vigilant in keeping the area pristine.
The park covers a total area of 1482 acres of reef systems and 1077.4 acres of inner bays.
The marine park was established in 1983 and is well-known for its great snorkeling, diving and educational opportunities. Here, visitors may encounter sea turtles, rays, sharks, barracudas, more than 350 species of fish, and 65 species of coral.
Located on the island of Curacao, Curacao Marine Park happily welcomes residents and guests who are rooming on this part of the island. But even if you aren't staying in this location, you are free to drop by to enjoy a great time. From this location, Willemstad is to the northwest.
And, one of the most enjoyable possibilities while spending a few hours exploring the area is eating a dish at a restaurant within traveling distance of the wildlife reservation. Jun Sushi, which sells Asian fare, is also the closest restaurant to the nature preserve. The restaurant is only about four miles from the nature preserve, so stop in and dig in! Also within reach, you'll come across options such as Seasons Restaurant and Tinto Restaurant so if you're lucky, at least one of these close by eateries will delight the whole party.
Other kinds of nearby attractions include Fort Beekenburg, which is five miles away the vicinity of Willemstad. You might also want to think about making the trip to Curacao Sea Aquarium, which is another attraction in the area.
With a selection of nearby activities, you'll never get bored. The attractions closest to this location are found in the following table.


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Sacred Heart of Mary is a place for you and your family to grow in your Catholic Faith. One of the ways you can do that is through our Parish Religious Education Classes. We offer classes for kids from Pre-K to Adult.
Thursday Adult Bible Study is held on Thursday mornings at 10am in the Parish Center, facilitated by Rozanne McCormick.
Confirmation Class is held on Wednesday evening, 6:30-8:00pm, with dinner at 6:30pm in the Parish Center.
RCIA is for those seeking to join the Catholic Church or simply wanting to learn more about the faith. Class is held on Wednesday evenings at 6:30 p.m. Sept - May. Dinner at 6:30pm and childcare provided. For more information email Jeff Hines at jhines@shmbarling.org or call the church office at 479-452-1795.
If you have any questions please feel free to contact the parish office, or register below!
Please also see the Parish Calendar under "Up to Date" for times.
If you are interested in helping with the PRE program, the youth program, or helping with faith formation in any way, please contact Jeff Hines (jhines@shmbarling.org) or Garrett Bannister (gbannister@shmbarling.org). Thank you!


This large clip top coin purse is manufactured from high quality sheep leather which gives it a touch of beauty and is very flexible to use. As this is a large purse, you can see some scars and marks on the leather which adds to its design and thus makes each and every purse unique in its look. The clasps are metal plated which matches with the plain black leather. The clasps are reinforced preventing it from wearing out fast and last longer.
On opening the clip purse there are two compartments. Both these compartments can be used to keep different essentials separate. You can keep one compartment for money, cards, notes and change. The other compartment can be used for a small make up case, lipstick and small mirror. The purse on the inside is lined with a soft polyester lining material. There is a zip designed on the side, which is covered by the leather. Here you can store some bits and pieces you might have.


Everyone naturally ages, but few people like to look old. Patients who present in my office to discuss correction of facial aging changes say "I want to look as young as I feel!" Today, many people are maintaining their health and activity levels, by taking proactive measures in their personal diet and exercise programs. This has led to a generation of individuals who want not only feel youthful well into their 50's, 60's & 70's, but also want to look the part. Unfortunately, despite any individuals' most diligent personal health regime, facial again changes continue to mount as the years go by.
Facial aging can be the result of both natural chronological aging and chronic ultraviolet exposure from the sun. Correction of sun damage changes can be accomplished to some degree by the use of superficial skin treatments involving the use of modalities such as skin peel, microdermabrasion and laser treatments. Chronological aging changes create the classic loose skin in the face and neck we commonly associate with old age. Loss of tissue elasticity creates loose facial skin and loss of support for underlying facial structures. With the help of gravity, typical jowls, frown lines and "turkey gobbler" necks appear.
Every patient's aging pattern is different as is each their particular concerns with the changes they identify. In an effort to meet each patients individual needs, consultations are designed to discuss all available treatment options and tailor a surgical plan focused on the patients goals.
Over the last several years, classical facelift techniques have been in a head-on battle with minimally or non-invasive techniques promoted by practitioners who promise comparable results. Everyone naturally wants the most benefit with the least invasive surgery. Plastic surgeons across the United States have heard this demand and most are attempting to modify their techniques when appropriate to help shorten scars, decrease post-operative problems and speed recovery time.
In my practice, every patient's concerns are individually evaluated. When minimally invasive techniques or short scar procedures can be utilized to solve a patient's problem, these techniques are incorporated. When patients present with facial cosmetic problems that go beyond the scope of minimally invasive techniques, more classic surgical procedures are incorporated. But always with the thought in mind of offering the patient the best long-term benefit with the least risk and shortest recovery period.


text:
Rajarshi Banerjee
3.29K // Timeless
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This match failed to fulfil the expectations of the people
When it comes to professional pro-wrestling, John Cena is one such wrestler who needs no introduction. He is perhaps the greatest superstar that the world has ever witnessed. His unbelievable popularity combined with a massive fan following all over the globe has turned him into a larger than life wrestler in the WWE.
However, despite all his achievements, one blot which will stay forever in his outstanding career is his loss to the Undertaker at WrestleMania 34 PPV.
Now, WrestleMania is the biggest, oldest and the grandest PPV of the WWE. To make the event a major success, the WWE should have utilized its topmost Superstars in the best possible way.
For more than a decade, John Cena is the undisputed face of World Wrestling Entertainment. Thus, the fans had high expectations from Cena in this WrestleMania match. Let us understand why this match was a disaster and the WWE should have made Cena won.
Firstly, the build-up to this match was awful. Cena repeatedly called out the Undertaker week after week but got no response from the other end. It gave an impression to the audiences that even WWE wasn't fully convinced about the possibility of this match. They just wanted Cena to be a part of WrestleMania and hence, scheduled this match.
The second botch which the WWE did was to make Cena lose the way in which he did. Agreed Cena can and did lose to the Undertaker, but, to make him lose in less than three minutes was absolutely silly. One can hardly remember the last time Cena lost a match in such a short duration.
Even if WWE wanted the Undertaker to win, they should have at least given Cena the opportunity to retaliate against the 'Deadman' and make this match more interesting. Instead, they made it a completely one-sided contest and thus ruined the expectations of millions of people around the world.
The third mistake which the WWE made was to make the Undertaker win altogether. There is no possible logic on earth that sums up to explain the Undertaker's victory in this match. Undertaker's undefeated streak at WrestleMania is conquered long back by Brock Lesnar and he has also lost to Roman Reigns.
Given the fact that he won't be a full-time player anymore, it would have been more meaningful to make Cena win. Cena and Undertaker have faced each other before, and records are definitely not on Cena's side.
Therefore, for once WWE could have turned the tables and made Cena win. That would have been a final message to the WWE Universe that indeed this was the Undertaker's last match and he won't compete again.
John Cena has accomplished almost everything that is possible in the WWE. A victory over the Undertaker at WrestleMania is something that he has never tasted and this was an outstanding opportunity for him to fulfil that dream.
However, the creative team of the WWE decided to put an impromptu match and turned the dream match into a laughing stock. The management should have planned things properly beforehand and could have made this match hundred times better had the match lasted longer and if John Cena would have won. That would have been absolutely 'best for business'.
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text:
Baukogel är en bergstopp i Österrike.   Den ligger i distriktet Politischer Bezirk Zell am See och förbundslandet Salzburg, i den centrala delen av landet,  kilometer väster om huvudstaden Wien. Toppen på Baukogel är  meter över havet, eller  meter över den omgivande terrängen. Bredden vid basen är  km.

Terrängen runt Baukogel är huvudsakligen bergig. Den högsta punkten i närheten är Großes Wiesbachhorn,  meter över havet,  kilometer sydväst om Baukogel. Närmaste större samhälle är Bruck an der Großglocknerstraße,  kilometer väster om Baukogel.

I omgivningarna runt Baukogel växer i huvudsak blandskog. Runt Baukogel är det ganska glesbefolkat, med  invånare per kvadratkilometer.

Kommentarer

Källor

Berg i Land Salzburg
Berg i Österrike 2000 meter över havet eller högre

redpajama_set_name: RedPajamaWikipedia


text:
Mama... What Can I Do Today? | Boys and Girls aged 3-5 | Develop Literacy
| Home Education: A Read, Play, Laugh Together Activity Book for Kids
Written By: Kate B. Jerome
Filled with silly animal jokes, games, puzzles, mazes and more, Mama... What Can I Do Today? combines an adorable rhyming storybook with more than 20 animal-inspired activities.
Mama... What Can I Do Today? uses kids' natural fascination with animals to develop essential literacy, academic and social-emotional skills while keeping them busy and engaged. Vibrant full-color photography of more than 40 furry, scaly and feathered friends brings the animal kingdom to life!
READ AND DO: The first part of Mama... What Can I Do Today? is a 28-page rhyming storybook that answers the perennial question with an action inspired by an animal, and a vibrant photograph of an animal, such as "climb a tree" like a koala in a eucalyptus, or "jump for joy" like dolphins leaping from the water.
MAKE, LAUGH AND PLAY: The second part of Mama... What Can I Do Today? includes more than 20 fun, engaging activities! Animal jokes, facts, drawing activities, story prompts, mazes and more extend the animal-themed fun!
PERFECT FOR PRE AND EARLY STAGE READERS: Pre-readers can read the story and do the activities together with their grown-ups, and emergent readers will gain independence and confidence reading and doing activities on their own.
DEVELOP ESSENTIAL SKILLS: Reading aloud improves language and listening skills and strengthens social emotional development and bonding with parents
EXPLORE THE ANIMAL WORLD: Filled with full-color photos and dozens of facts about more than 40 animals from every animal kingdom: jungles, forests, farms, oceans, rivers and backyards.
EXPERT AUTHOR: Award-winning author and former teacher Kate Jerome's expertise in intergenerational communication opens a dialogue between grown-up and child in a clever and engaging way.
Trim Size: 8.5 x 8.5
Kate B. Jerome, Author: Kate B. Jerome is an award-winning author who has written more than 100 science books for children, including a NYT bestseller. A lifelong science literacy proponent with a special interest in ocean conservation, she is a Director Emeritus of the South Carolina Aquarium.
A Smile for Sasquatch
E.T. the Extra-Terrestrial: E.T.'s First Words
Back to the Future: Telling Time with Marty McFly


The Loch Lomond Steamboat Company became the dominant force on Britain's largest and probably most famous lake. In 1888 the company was taken over by the Noth British Railway and in 1896 by the Dumbarton & Balloch Joint Line Committee, in which the railway company and two of its competitors took joint interest in the branch railway from the main line at Dumbarton to the south end of the lake at Balloch. The steamers and pier came under joint control and continued as such by the successor railway companies until nationalisation in 1948. In 1957, the steamer service was transferred to the control of the Caledonian Steam Packet Company, the Clyde steamer subsidiary of British Railways, and at the time of the first joint committee, the deadly rival of the North British.
After 1953, steamer service on the lake became a one-ship operation with the new PS Maid of the Loch, surprisingly built as a paddle steamer, and the last such passenger vessel built for British waters. A large vessel, around double the size of the two paddlers she replaced, the Maid was to struggle financially against declining traffic until withdrawn after the 1981 season.
The last lake cruiser other than smaller vessels providing shorter localised cruises was the Countess Fiona, brought overland from the Clyde to replace the Maid of the Loch. She ran until the end of the 1989 season and lay at Balloch until scrapped ten years later. The Maid, meanwhile, was subject to several abortive restoration plans, but volunteer maintenance over many years halted her deterioration and restoration to steam is now a realistic target.


Monumentalizes is a 14 letter long Word starting with M and ending with S. Below are Total 1541 words made out of this word.
Note There are 6 vowel letters and 8 consonant letters in the word monumentalizes. M is 13th, O is 15th, N is 14th, U is 21th, E is 5th, T is 20th, A is 1st, L is 12th, I is 9th, Z is 26th, S is 19th, Letter of Alphabet series.


Daily Tip: October 6, 2016 - Lifeback Supplements - Get Your Life Back!
MSG is a food additive that commonly triggers migraine headaches, and is a common ingredient in prepared Chinese food. Be aware, even if you request no MSG, it may already be present in the ingredients.
Migraine Sufferers, Get Your Life Back!


For many male Korean celebrities, taking nearly two years off to fulfill their mandatory military service means a huge setback in their career. For the duo known as TVXQ!, however, it just means the start of another era after a decade-and-a-half of leading K-pop's ascent throughout Asia.
When they released their first album in three years at the end of March, Jung Yunho, known as U-KNOW, and Shim Changmin, aka MAX, set out to reintroduce themselves to K-pop audiences with New Chapter #1: The Chance of Love.


Emmanuel Adebayor will return to Togo to consider his future after his country's African Nations Cup exit, and admitted he would welcome a move back to England.
Togo were eliminated from the tournament by their 3-1 group-stage defeat to the DR Congo on Tuesday.
Adebayor, 32, skippered his nation at the African Nations Cup, despite having been without a club since leaving Crystal Palace at the end of last season.
The former Arsenal, Manchester City and Tottenham Hotspur forward now intends to take some time before deciding what to do next.
"I didn't come here to search for a club. I came here to play and represent my country and I think I've done that quite well," Adebayor told AFP.
"Now we are out, I am just going home and I'll call my manager and see if there are some clubs that are interested in me. Let's take it step-by-step and see how it goes."
Bar a brief loan spell at Real Madrid, Adebayor has spent the last decade in England, scoring 97 goals in 242 Premier League appearances.
"You know how much I love the Premier League even though I am not the most-loved player in England. I have done it for the last ten years in the Premier League,"
said the striker, who will also speak to Togo coach Claude Le Roy about his international future.
"I don't know yet. I don't want to take any decision right now. It's going to be a hard one to take. I'm going to sit down with the manager and see how I can be involved in the national team."
After seeing his star forward toil for his teammates in the extreme conditions of Gabon, Le Roy is convinced Adebayor still has a future at the top of the game.
"It's unbelievable what he did during these eight days. Three games in a row at this level without any game for eight months," the coach, 68, said.
"We trained every morning with him for four-and-a-half weeks in Lome before the tournament. At 7:30, 8am, he was there with all my staff.
"I'm sure that if he is coming back in a club he will be great in the next few months because he showed everybody that he was at the level."
0 Response to "Emmanuel Adebayor to consider future, open to Premier League return"


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Q: Android Studio Kotlin, notifyItemChanged not calling OnBindViewHolder I am trying to make a game of life grid based game in Android Studio using kotlin. Essentially, every second the grid will update based off a set of rules. However, I can not for the life of me get the grid to update.
For some reason, notifyItemChanged() is not calling onBindViewHolder to properly update the grid visually. I was able to find a work around for some cases, that being calling onBindViewHolder specifically and passing through the current cellViewHolder and it's position, but this won't get me the result I am looking for. Specifically, in the function I declared testUpdate(), I need to be able to change an array of data that the grid is based on, and then from that function notify the grid that changes were made and it should update. However, notifyItemChanged() as well as notifyDatasetChanged() both do not call onBindViewHolder(). I am at a loss, any help would be much appreciated!
I am very new to Kotlin, so I apologize if this code is horrible.
Here is my code:
package com.example.project2

import android.graphics.Color
import android.os.Bundle
import android.text.Layout
import android.view.LayoutInflater
import android.view.View
import android.view.ViewGroup
import android.widget.Button
import android.widget.ImageButton
import android.widget.TextView
import androidx.fragment.app.Fragment
import androidx.recyclerview.widget.GridLayoutManager
import androidx.recyclerview.widget.RecyclerView
import android.os.Handler;

class BoardFragment : Fragment() {
    private lateinit var recyclerView: RecyclerView
    var gridArray = IntArray(400)
    val handler = Handler()
    var isRunning: Boolean = false
    val colorRed = Color.RED
    val colorBlue = Color.BLUE

    override fun onCreate(savedInstanceState: Bundle?) {
        super.onCreate(savedInstanceState)
    }

    override fun onCreateView(
        inflater: LayoutInflater,
        container: ViewGroup?,
        savedInstanceState: Bundle?
    ): View? {
        val view = inflater.inflate(R.layout.board_fragment, container, false)

        val startButton = view.findViewById(R.id.start_button) as Button

        val recyclerView = view.findViewById(R.id.recycler_view) as RecyclerView
        recyclerView.layoutManager = GridLayoutManager(activity, 20)
        recyclerView.adapter = GridAdapter()

        startButton.setOnClickListener {
            isRunning = !isRunning
            if (isRunning) {
                testUpdate()
            }
        }

        return view
    }

    fun testUpdate() {
        handler.postDelayed({
            if (gridArray[3] == 0) {
                gridArray[3] = 1
            } else {
                gridArray[3] = 0
            }

            if (isRunning) {
                testUpdate()
            }
            GridAdapter().notifyItemChanged(3)
        }, 1000)
    }

    override fun onStart() {
        super.onStart()
    }

    private inner class CellViewHolder(cellView: View): RecyclerView.ViewHolder(cellView) {
        val button: ImageButton

        init {
            button = cellView.findViewById(R.id.cell_button)

            button.setColorFilter(null)
            button.setOnClickListener {
                if (gridArray[position] == 0) {
                    gridArray[position] = 1
                } else {
                    gridArray[position] = 0
                }
                GridAdapter().notifyItemChanged(position)
                GridAdapter().onBindViewHolder(this, position)
            }
        }

        fun display(position: Int) {

        }
    }

    private inner class GridAdapter: RecyclerView.Adapter<CellViewHolder>() {

        final val NUM_CELLS: Int = 400

        override fun onCreateViewHolder(parent: ViewGroup, viewType: Int): CellViewHolder {
            val inflater: LayoutInflater = LayoutInflater.from(parent.context)
            val cellView: View = inflater.inflate(R.layout.board_cell, parent, false)
            return CellViewHolder(cellView)
        }

        override fun onBindViewHolder(holder: CellViewHolder, position: Int) {
            holder.display(position)
            if (gridArray[position] == 0) {
                holder.button.setColorFilter(null)
            } else {
                holder.button.setColorFilter(Color.RED)
            }

        }

        override fun getItemCount(): Int {
            return NUM_CELLS
        }
    }

}

A: I don't know what you're trying to achieve but a few tip

*

*notifyItemChange() should be called from the Adapter class.

*You're creating a new instances of GridAdapter GridAdapter().notifyItemChanged(position)
change
GridAdapter().notifyItemChanged(position)

to
recyclerView.adapter.notifyItemChanged(position)

modify your class like this
package com.example.project2

import android.graphics.Color
import android.os.Bundle
import android.text.Layout
import android.view.LayoutInflater
import android.view.View
import android.view.ViewGroup
import android.widget.Button
import android.widget.ImageButton
import android.widget.TextView
import androidx.fragment.app.Fragment
import androidx.recyclerview.widget.GridLayoutManager
import androidx.recyclerview.widget.RecyclerView
import android.os.Handler;

class BoardFragment : Fragment() {
    private lateinit var recyclerView: RecyclerView
    var gridArray = IntArray(400)
    val handler = Handler()
    var isRunning: Boolean = false
    val colorRed = Color.RED
    val colorBlue = Color.BLUE

    override fun onCreate(savedInstanceState: Bundle?) {
        super.onCreate(savedInstanceState)
    }

    override fun onCreateView(
        inflater: LayoutInflater,
        container: ViewGroup?,
        savedInstanceState: Bundle?
    ): View? {
        val view = inflater.inflate(R.layout.board_fragment, container, false)

        val startButton = view.findViewById(R.id.start_button) as Button

        val recyclerView = view.findViewById(R.id.recycler_view) as RecyclerView

        recyclerView.layoutManager = GridLayoutManager(activity, 20)

        recyclerView.adapter = GridAdapter()

        startButton.setOnClickListener {
            isRunning = !isRunning
            if (isRunning) {
                testUpdate()
            }
        }

        return view
    }

    fun testUpdate() {
        handler.postDelayed({
            if (gridArray[3] == 0) {
                gridArray[3] = 1
            } else {
                gridArray[3] = 0
            }

            if (isRunning) {
                testUpdate()
            }
            recyclerView.adapter.notifyItemChanged(3)
        }, 1000)
    }

    override fun onStart() {
        super.onStart()
    }

    private inner class CellViewHolder(cellView: View): RecyclerView.ViewHolder(cellView) {
        val button: ImageButton

        init {
            button = cellView.findViewById(R.id.cell_button)

            button.setColorFilter(null)
            button.setOnClickListener {
                if (gridArray[position] == 0) {
                    gridArray[position] = 1
                } else {
                    gridArray[position] = 0
                }

            }
        }

        fun display(position: Int) {

        }
    }

    private inner class GridAdapter: RecyclerView.Adapter<CellViewHolder>() {

        final val NUM_CELLS: Int = 400

        override fun onCreateViewHolder(parent: ViewGroup, viewType: Int): CellViewHolder {
            val inflater: LayoutInflater = LayoutInflater.from(parent.context)
            val cellView: View = inflater.inflate(R.layout.board_cell, parent, false)
            return CellViewHolder(cellView)
        }

        override fun onBindViewHolder(holder: CellViewHolder, position: Int) {

            if (gridArray[position] == 0) {
                holder.button.setColorFilter(null)
            } else {
                holder.button.setColorFilter(Color.RED)
            }

      holder.display(position)
recyclerView.adapter.notifyItemChanged(3)
        }

        override fun getItemCount(): Int {
            return NUM_CELLS
        }
    }

}

redpajama_set_name: RedPajamaStackExchange


The 10" Skillet is the perfect choice for everyday meals. You can easily pan-fry, sauté, simmer and braise everything a recipe requires on your induction stovetop. As an added bonus, the natural nonstick surface means less oil and butter is needed for healthier cooking!


So he's back and ready to re-establish himself all over again. Of course, being Robert Plant re-establishing yourself doesn't mean a total change of image or musical stance. He just draws on the many influences that have characterised his journey of the past 30 years and extracts from them as he sees fit.
What's so refreshing about 'Fate Of Nations' is that, for this occasion, Robert has delved into the very essence of his roots going as far back as Muddy Waters, Howlin' Wolf and Robert Johnson, through Moby Grape, Quicksilver, The Incredible String Band, and Fairport Convention to the music of India and North Africa and, of course, the work of Led Zeppelin. And in taking these influences he has not allowed them to be diluted into a slick or soulless concoction but as he describes it, he has pumped them to inspire a set of new compositions that live and breathe yesterday, and by the same measure, push for the aspirations of tomorrow.
'Fate Of Nations' is therefore devoid of any grunge outings if you were looking. It's also a step away from the rather staid standard rock formula that rendered some of the more mundane moments of 'Manic Nirvana' ('She Said', Big Love') into the realms of mediocrity. By surrounding himself with new players and passions, Plant has pleased himself in taking his music where he wants it to go, and not where the consensus of opinion might expect it to go. For that reason alone, this album is vastly different from past solo outings. Much of it demands utmost attention and does not rest easy on the ears in one listening. It may not be immediately apparent, but given time and repeated playback, the end result is a rewarding experience that for me, again confirms this particular 44 year old's status as the outstanding vocalist of this or any other era.
The eclectic content of 'Fate Of Nations' perhaps also illustrates the difference of musical opinions that now divides Robert and Jimmy – and goes some way to explaining why a Led Zeppelin reunion could never work. Let's face it, If I Were A Carpenter' would not have found itself easily on a Zep reunion album. There is a totally different atmosphere prevailing on Robert's album than that of the Coverdale Page set. Jimmy's music is built on relentless riffing that captures a vast vacuum of sound. Robert has seemingly moved away from that stance, preferring to move around organically as he puts it, encompassing different styles and genres.
Not that he has lost his ability to adapt such Zep-like dynamics (witness 'Calling To You') when the desire takes him. For the most part though, the dynamics are alternately diversified and for me personally that's not a problem. I can quite happily enjoy Jimmy and Robert's respective new works based on their own differing merits and motives.
So this isn't music that can be pigeon-holed to the cover of Kerrang. This is Robert Plant in 1993, still offering up that vocal style (his singing throughout is quite exemplary) that continues to give him a reason for being … instead of a reason for having been.
It all begins with 'Calling To You' which is simply the business. Beginning with some minor key strumming it then tacks into shape via Pete Thompson's powerful (and yes perhaps Bonham-like) drumming. This really is a definite Zep throwback stomping along with some great dual guitar effects from, I think, Francis and Kevin. At the centre Robert turns in a majestic vocal, often undercutting the mix with additional bizarre phrases that add to the mystery of the lyric. All the old trademarks are intact ("Ohhhh Yeeaahhl") and as effective as ever. The instrumental refrains have an Eastern quality about them and are further enhanced when one Nigel Kennedy enters to layer on a manic violin solo that recalls to mind the effects on The Beatles' Tomorrow Never Knows'.
Could this be Robert's own personal retort to his former partner? Perhaps illustrating that he can still turn on his sort of dynamic style when required? All in all it's an infectious and engrossing slab of archetypal Plant that proves that he can still commit himself to this vocal style better than anyone. It's also one of his best solo tracks to emerge in a very long time.
Elsewhere there are many differering styles to assess. 'Down To The Sea' is a quirky, repetitive Cure-like ramble, led by a subtle injection of Eastern table drums. The descriptive nature of the repeated lyric ("When I get older settling down will you come down to the sea") conjures up video storyboard images of deserted grey beaches and the retired Plant many years hence holding court in carnal Malibu style with a bevvy of beauties still in tow. Vaguely psychedelic and dreamy, this track has a very ambient feel and is a very enjoyable departure.
'Come Into My Life' can be viewed as a direct influence of his hanging out with the Fairports. So enter Richard Thompson to add some achingly beautiful guitar licks and Maire Brennan from Clannad to float around Robert's turn of phrasing. The chorus is heavily scored by a rush of acoustic guitars from which I detected a slight 'Over The Hills' leaning. The middle guitar part from Richard is superbly atmospheric and amongst the most elegantly constructed solos I've heard in an age. Robert's vocal ("Ohh when yer get there well you know") is also superbly recorded, capturing the gentle folk essence of the track but also rising in temperature with the chorus as required without ever losing control. This as good as anything he's done in the post Zep years.
"Memory Song" (Spikes Ghost) lurches in on a loping churning riff that proceeds to dominate the tempo. Robert's vocal is nondescript and slightly phrased. The drum beat has a touch of the 'Levee Breaks' about it and towards the end the piece becomes a vehicle for some typical Plant gymnastics (one of which is right out of the fade to 'Four Sticks'). lyrically "Are you lost without the group "is a telling line to who this might apply to.
The appearance of '29 Palms' changes the mood. Already familiar as the first single, within the confines of the album, it leaps out as being overtly commercial, with some very Knopfler-like guitar licks and a nice driving feel. All very likeable.
'Colour Of A Shade' takes over where 'Liars Dance' left off on the last album. Framed by a series of attractively overdubbed acoustic guitars, Robert applies a very folksy vocal that leads to an affectionate chorus. Shades of the Incredible String Band prevail throughout. File next to 'Going To California'.
Side 2 opens with 'I Believe'. The intro has a distinctly 'Tears For Fears' sounding keyboard motif (producer Chris Hughes influence) before moving into a very pretty strident mid-tempo chorus-led excursion likely to be pulled as the next single. Lyrically it's not too difficult to detect a very personal message in the lyric ("Say brother sister see your brother in the sky"), which is duly reflected in the emotional content of Robert's singing. "Like the wind you are free so talk to me, talk to me". I guess we all know how the latter line will be extended in a live setting. There's a very Beatlish flavour to the guitar solo here and overall this is another successful deviation from the expected.
Promised Land' is more traditional fare, a bluesy strut with some prominent organ early on, before the familiar harmonica merges with some stinging guitar at times embellished by wah wah effects. His vocal here has a very retro feel which is almost 'Physical Graffiti' in texture. There's an offbeat peculiarity about the whole track that draws you in on subsequent listening.
Another departure heralds the arrival of Great Spirit'. Set against a muted wah wah guitar effect played slow and moody, Robert croons over a repeated background chorus ("Great spirit comes"). Soulful and tasteful with some impressive guitar soloing but not a riff in sight. The lyrics include a reference to the album title and it all mellows out into the distance via some echo vocal effects as the master heeds the lyrical call of a previous incarnation ("Sing and Celebration").
"The Greatest Gift opens with string induced grandeur. This is an epic love ballad, again more soulful than bluesy. It livens up for each power chorded chorus before returning to a very moody and mellow theme aided by some silky smooth guitar lines. The addition of a full string accompaniment adds to the epic nature of the piece. The whole thing has a widescreen effect and it strikes me that the song would make a great movie soundtrack theme. Plant's impassioned vocal just soars.
And then . . . Robert joins such illustrious company as Bobby Darin, The Four Tops, Johnny Cash, and The Band Of Joy in covering the Tim Hardin 60s classic 'If I Were A Carpenter. It's a superb performance beautifully sung with full respect for the original and underscored by a subtle snare injection and another lush string arrangement. It's a song he was familiar with long before there was Led Anything around circa 1967 and though it's hardly the usual formula, it proves to be a perfect vehicle for his voice. And who knows, it could be a huge smash if extracted as a single at the right time.
And that is 'Fate Of Nations'. An album that explores many different facets of Robert Plant's compound of influences. It may take a few repeated listening but stick with it, because the end result will be immensely satisfying.
Led Zeppelin's greatest strength was always their sheer diversity, a point clearly not lost on their ex-singer 25 years after their original inception. On 'Fate Of Nations' Robert Plant employs diversity as a function of union. Share it with him at your earliest opportunity.
STOP PRESS Please note early tapes of the album did not carry the track Network News' which I was unable to review due to the already overdue printing deadlines. Just received the second CD of '29 Palms' with the new acoustic 'Whole Lotta Love' – it again employs Rainer on steel guitar – a sparse bluesy workout very much in harmony with Willie Dixon's original "You Need Love" which no doubt accounts for the subtitle employed on the sleeve.
From a grand entrance in front of over 100,000 in Milan on May Day 1993, through to the less populated confines of the Kings Head, Fulham and across a variety of European halls and festival dates, Robert Plant's first tour in three years has produced one of the most intensive and interesting work periods of his entire career. Stretching from the early Spring into late August he has appeared in front of well over a million people.
In launching this new phase of his career, Robert has been firmly committed to taking the music to the people. With little pretentions for the arena rock circuit which by his own admission his audience would be unlikely to extend to filling, Plant and his new line up embarked on a promotional trip that ensured a strong visibility by shrewdly taking a support slot with Lenny Kravitz and making up the bill on several major European festival dates, including a triumphant UK return at Glastonbury.
Alongside the actual live appearances, there have also been the media plugs. These have encompassed a hefty round of promotional TV and radio interviews with the added spice of several acoustic sessions that have been responsible for some surprising performances. The 'FateOf Nations' media UK push also propelled the new line up on to the small screen with appearances on 'Top Of The Pops' and 'Later With Jools Holland' – the latter signalling Robert's first ever live UK presentation in his own right since the Zep 1969 one off.
Plant's own musical leanings (hence the introduction of the East coast Moby Grape/Springfield influence). To the left of the lead singer has stood Francis Dunnery, a strident guitarist well versed in the Page songbook and a strong personality on stage (can't say I was over enamoured with the green shorts mind!). His stay could also be limited as there are plans for him to tour in his own right in early '94.
On drums, Michael Lee has proved to be an excellent addition with a no frills attitude to attacking the kit (Calling To You) coupled with a subtlety in his approach when the occasion demands (witness the rimshot style on the new arrangement of Ship Of Fools).
The actual set list employed seems to have caused quite a division amongst the faithful. After the No Led Anything approach pre-83, the contention of what to play seems to have come full circle. This time out there has been a renewed emphasis on performing Zep numbers – a total of 11 were aired along the tour against a ratio of 9 of his solo outings (plus two non originals).
Of those nine Plant solo outings, none of the songs delved back further than the 1988 Now And Zen album. It's almost ironic that many of the diehards I've spoken to said they would have preferred Robert to have reinvestigated earlier solo tracks such as Pledge Pin and Burning Down One Side at the expense of a Zep delivery or two.
Of the Zep numbers re-employed Thank You and What Is And What Should Never Be received their first live airings in 20 years and seemed to be most welcome by all that heard them. The actual structure of the set was changed to match the differing time slots – a rigid 45 minute set was the norm for the supports to Lenny while the festival set was elongated to over an hour. The UK meanwhile received something like the duration that the US leg enjoyed with plenty of encore surprises – the most striking of which was the verses of Dazed And Confused performed at the NEC. Three tracks were used as set openers with Tall Cool One eventually emerging as the key choice over Hurting Kind and Calling To You.
Visually his persona seemed a throwback to the golden age with the hair back to Earls Court centre parted length. Time has not been too kind to his facial lines however and I also observed something of a receding hairline when the sweat dripped off the hair. But he looked fit enough -incorporating that new whirling dance style with perhaps a more paced physical approach that kept the peacock preening for later in the set.
In amongst all the media saturation Robert has played off the usual Zep investigations with a combination of flippancy and perception. Sometimes appearing not to care too much about the past, while at other times keen to re-affirm their greatness and affectionately talk of John Bonham.
The other media cat and mouse game surrounded the Coverdale Page project with Robert again mixing some guarded replies with a few unsubtle and unnecessary snipes. When it comes to such matters, he should really let the music do the talking.
And it was the music that was the real focal point of this return to the people. And for me the most striking factor through it all, has been the quality of his vocals – with performances such as Thank You' and 'I Believe' recalling the purity of those early teenage Atlantic recordings of nigh on a quarter of a century ago.
In fact some 20 years after he first introduced us to the ethic on the 'Houses Of The Holy' album, Robert Plant is still singing to an ocean . . . and judging by the reaction to this European tour. . . the ocean hasn't lost its way…..
An updated edition of Stephen Davis' Led Zeppelin biography "Hammer of the Gods" was released earlier this week. The updated book is available to purchase on Amazon.
Jimmy Page has been photographed by his daughter Scarlet Page to celebrate Led Zeppelin's fiftieth anniversary. See a photo from the photoshoot here.
Jimmy Page's local council has provisionally approved his neighbour Robbie Williams' plan for a basement, which Page has fought to stop happening for years. The final decision will be made in a meeting of the Royal Borough of Kensington and Chelsea Planning Applications Committee on the evening of May 29. Read our full history of the feud here.
The documentary "Still On The Run: The Jeff Beck Story," which features an interview with Jimmy Page, was released on DVD, Blu-ray, and digital download this week. You can find out more about the release here and read our transcript of Page's comments in the film here.
May 29 – The Royal Borough of Kensington and Chelsea Planning Applications Committee will decide whether to approve Robbie Williams' basement extension, which Jimmy Page has fought for years.
Turning the clock back 43 years..
The days in between the first two gigs had been pretty non stop. Tuesday at short notice I went to see Swan Song artists The Pretty Things support Status Quo in Ipswich with the Atlantic rep who called on the WH Smith record department I worked in. A truly great gig it was too. Next day he brought in to the shop 30 copies of the limited edition UK Trampled Underfoot single – yet another bonus!. Thursday was spent soaking up the music press with the arrival of the NME and Melody Maker front covers (those cover pics were just awesome!) – The excitement just didn't stop.
After the frantic pace of attending the two first gigs, Friday seemed a much more relaxed affair and I took much more in. The weather was good too and beforehand my then girlfriend Fiona and I drank a bottle of wine in Hyde Park. Then it was to SW8. The view this time was the opposite side to last week and we scrambled down a few tiers taking some empty seats. A full on if slightly distant but clear view on Jonesy's side. From the moment Plant gave out an excited Immigrant Song "Aha ah" squeal as Bonzo and Jimmy did the usual warm up, well it was so evident they were up for it. Fashion note: For this night only Robert wore the cherry wrap around shirt he'd favoured on most of the '75 American tour.
Images ingrained on my brain for the past 43 years: Watching Jimmy slither across the stage as they hit Sick Again, Plant seemingly lost in a trance right in front of us as Page did the solo in Over The Hills, dry ice seeping above us over the front rows in No Quarter (should have bottled it –imagine that on ebay!), Jimmy holding the Gibson double neck aloft during the Song Remains intro, the stand up microphones being brought out for the four part harmony of Tangerine, being so close to them clustered together for the acoustic set (incidentally listen to the various soundboard bootlegs – just before Going To California Robert introduces the song saying ''This is a song about the would be hope for the ultimate…for the ultimate'' – after which you can hear a distant yelled squeal just before somebody starts whistling – that's my squeal folks), Trampled Underfoot and the revolving lighting creating a real sense of speed, the normally reserved Dec next to me going crazy in a manner I've not seen since, Page's violin bow and going "Ahhh'! as the lasers spiralled above us. The last few moments of Stairway as the mirrorball created that swirling spinning effect and thinking I must have died and gone to heaven!
There sitting on a limo was Robert Plant – blue sparkled jacket (the same one he wore on the Midnight Special TV show interview appearance in March 1975), white scarf and draped in bracelets and rings looking for all the world like a Greek god. Being right in front of Robert at that moment was just incredible. An unforgettable image. After getting over the sheer shock of seeing him, I asked the rather dumb question when would they be playing in England again. "There's a lot of traveling to do first" was his reply. We walked across to the entrance where the aftershow party was taking place with Plant and his wife Maureen and Rusty from Showco . Robert sang a few lines from Kashmir as he scuttled through the entrance. We also saw Bonzo, Jonesy and Jimmy arrived along with Chris Squire from Yes, Bob Harris and Jeff Beck.
There would be many dazzling episodes ahead, but perhaps nothing with the sheer uncomplicated joy and optimism of that week in May 1975 all of 43 years ago.
Dave Lewis – May 23, 2018.
40 years ago this week on May 25 1978, I was lucky enough to attend a secret filming of The Who at Shepperton Studios. This was arranged to capture footage for their film the Kids Are Alright. Little did I know back then that a rather excited spontaneous leap on to the stage by me at the close of their performance of Won't Get Fooled Again would be captured for all time – and featured in the film – and subsequently on DVD and YouTube.
Well firstly I was a big Who fan for sure – and had been since 1969. Pinball Wizard was one of the first singles I'd owned. I'd seen them at the Empire Pool Wembley in October 1975 and at Charlton on a very rainy bank Holiday in May 1976 – on both occasions they were absolutely brilliant. I loved all the albums – particularly Quadrophenia, Who's Next and The Who By Numbers – albums that spoke to me, were my guiding light and packed power and emotion – next to Led Zeppelin during this era, they were my second favourite band without a doubt.
In 1977, The Who began making a film to be titled the Kids Are Alright – a career spanning documentary. For that purpose in December 1977 they decided to perform a low key gig at Kilburn State Theatre in London. My very good friend Dec through the then boyfriend of his sister Yvonne, managed to get in on this gig. A guy named Steve Margo was the link – he was a massive Who fan – along with another high profile Who fan 'Irish' Jack Lyons and one or two others, later staged a Who Exhibition at London's ICA in August 1978.
The Who were unhappy with the footage they got that day and decided to have another go at capturing footage for the film. In early May we heard through Steve Margo that The Who would soon be staging a gig in London to be filmed for the documentary. Plans were all veiled in secrecy – eventually word came though and we were instructed to meet at Hyde Park Corner on the morning of May 25, 1978.
At that time Led Zeppelin were somewhat inactive following the curtailing of their 1977 US tour due to the tragic death of Robert Plant's son. In May there were reports in the press that they had re grouped at Clearwell Castle for some rehearsing. Later in the year they would travel to Abba's studio in Stockholm to record The In Through The Out Door album. In early May, I was contacted by Sounds writer Geoff Barton. He had seen I had replied to a couple of Zep queries in their Wax Fax column. Sounds were planning a special three week feature to run in September to mark the tenth anniversary of Led Zeppelin's formation.
I was commissioned to produce a ten year timeline history alongside an extensive discography covering official releases and bootlegs. I had a fair few meetings at the Sounds office in Long Acre and took in a large collection of memorabilia and albums for them to photograph – no scanning of images back then of course. Subsequently, my summer of 1978 was dominated by this work which had to be in for early August. I hand wrote the entire contents of the feature and by and large when it was all published as a four week part work it was a big success . It was my first time in print and I also got paid for it. More on all this later in the year. I also attended two amazing gig in July of that summer – David Bowie at Earls Court and Bob Dylan at Blackbushe.
Back to the story – so it was against this backdrop of Zep writing that I turned my attention to this very exciting prospect of witnessing The Who live on stage again.
So come the day – Thursday May 25 , we were duly ferried out of London by coaches to the Shepperton studio complex – wined and dined in the canteen where we mixed with 18th century costume drama actors and actress's and then led into the Studio 2 soundstage for a mini performance by The Who.
The filming had been set up by director Jeff Stein to make up for the rather lucklustre footage he had garnered from the aforementioned Kilburn Theatre the previous December. It was to be the contemporary insert of a career spanning documentary that would emerge as The Kids Are Alright released to theatres on both sides of the Atlantic the next year.
So it was in a state of some considerable awe that we were ushered into the studio where a specially constructed stage aimed at replicating any night on the road for The Who had been assembled. The audience of around 200 consisted of a mixture of Who fanatics, liggers, journalists and musicians – amongst the latter was a young Chrissie Hynde. Also in attendance shooting one of his first gigs was the soon to become world renowned photographer Ross Halfin.
The last time I had seen The Who live was amongst 65,000 rain sodden fans at The Who Put the Boot In show at Charlton Athletic football ground in May 1976. Now I was just a few feet away as Pete Townshend power chorded his way through a riveting Baba O Reily -one of my all time fave numbers not just by The Who, but anyone. Thrilling deliveries of John Entwhistle's My Wife and Won't Get Fooled Again followed.
The initial plan had been to perform just those three numbers. Impressed by the by the relaxed of nature of the whole affair, Townshend signalled to Daltrey, Moon and Entwhistle to stay on stage – and spontaneously they kicked in to Substitute and then instantly into I Can't Explain.
We had come under the guise of seeing The Who shoot a handful of numbers for their film – we were now privvy to a mini greatest hits concert as they ran through Summertime Blues, Magic Bus My Generation and My Wife (again). It was another blast through Won't Get Fooled Again that brought this extraordinary performance to a close. Watching it all unfold in such close proximity was truly the stuff of rock'n'roll dreams – it was just utterly sensational.
Fulled by a combination of beer and wine, and a surge of adrenalin from the sheer wonder of what I was witnessing, as Won't Get Fooled Again ended and the band warmly took the applause, I took it upon myself to climb on the camera tracking and make one giant leap towards Pete Townshend and then one small step towards Roger Daltrey accidentally cuffing him in the eye in the process. On any regular gig this spontaneous stage rush may well have resulted in the stinging sensation of a swinging Gibson Les Paul crushing against flesh. I was aware of Abbie Hoffman's treatment by Pete when he walked on to the Woodstock stage during their performance in 1969 – I really did not have time to think of any consequences as I made that leap. Luckily for me Townshend hugged me warmly and Daltrey good humouredly shrugged off my enthusiastic arm waving. it's worth noting I was not alone in this stage invasion – though I was not aware of it at the time. In the film just before my entry you can see a young lady more calmly approach and hug Roger.
Behind all this action, a permanently devilish grin was spread across the face of Kith Moon. Physically showing the strains of his LA lifestyle he was at last back where he functioned best… on stage with the 'Orrible 'Oo.
As we waded out into the bright late afternoon sunshine little did we realise we had just witnessed Keith Moon's final public performance with The Who. And little did I realise that my leap of faith would be subsequently retained in the film's final cut.
Outside in the grounds of Shepperton there was one more task for the lucky few in attendance to perform. We were asked to line up in four rows behind each member of The Who. This was for a potential album cover design for The Who's forthcoming Who Are You album – the concept being that we would act as clones for the band to illustrate the album title. So we were all asked to line up – I was in the queue behind Keith Moon. As it turned out this cover idea was scrapped. However, years later a couple of outtake photos from this session appeared in the Ross Halfin complied Who Genesis Publications photo book. These photos reveals that for some reason, I had stepped out of line and you can see me in my blue bomber jacket to the right – another remant of the day.
Incredibly this was not the end of the Shepperton saga. Steve Margo informed us that he had been invited to attend another filming session the next day – and did we want to tag along? Did we ever!
So it was on Friday May 26 Dec and I met along with Dec's sister's boyfriend Jack we met Steve in St. John's Wood who then drove us to the Shepperton Studio complex. We were were allowed in to the Studio 2 soundstage again and there before us onstage were The Who. This time in front of a camera crew and a few technicians, road crew and Who personnel including soundman Bob Pridden, lighting expert John Wolff and Who manager Bill Curbishley. I could never have envisaged back then that one day I would interview Bill in his office discussing The Who, Led Zeppelin , Jimmy Page and Robert Plant. Irish jack was also there.
The objective of this days filming was to perfect the laser sequence during Keith Moon's drum solo and into Roger's scream before Pete and John come back in. We watched multiple takes of Keith performing his solo and Roger bathed in lasers marching on the spot as the camera panned in. We watched this repeated scene in absolute awe. 40 years on this close up experience of The Who filming this sequence remains right up there amongst the most thrilling live music moments I've been lucky enough to witness.
I was back behind the counter at my job in WH Smiths next day – and back on the Led Zep Sounds feature for the next few weeks. I did hastily hand write a couple of thousand words of a review of the May 25 Shepperton experience – I aim to search that out from the loft in the next week or so and get it into shape to put up here.
This was not quite the end of The Who 1978 story.
On August 1 1978, Dec and I attended the opening of the Who's Who Exhibition at London's ICA. Both Pete Townshend and Keith Moon were in attendance. The producer of the film Jeff Stein saw me and informed my I could be clearly seen in the final scenes of the film leaping on stage. The Who's Who exhibition was superbly well done and way ahead of it's time with stage clothes, instruments ,videos etc. I had a chat with both Pete and Keith – and had a photo taken with him. He seemed on great form proudly talking about the famous Pictures Of Lily drum kit that was on display. This pic shows me with Keith and Ian Dury with his back to us.
The Who Are You album came out in August and I purchased it on the day of release. An excellent album with some superb performances such as New Song, Sister Disco, Love Is Coming Down and the title track. It still sounds brilliant.
On the evening of Thursday September 7, I was watching the News at Ten on TV when they announced that Keith Moon had been found dead. It was no secret that Keith had carried a lot of demons around in recent years but it was still a terrible shock.
Unlike Zep, The Who decided to carry on – for them I'd say it was the right decision though it was never quite the same.
In June 1979 The Kids Are Alright film came to Bedford. Knowing I may appear in it, our gang of Dec, Tom, Phil etc all came along to view it at the Granada Cinema in Bedford (sadly long gone). The film overall was excellent with some fantastic footage – no sighting of me of course until right at the close as the credits rolled… then on I leap into Pete Townshend's' arms (and nearly poking Roger Daltrey's eye in the process!). In the cinema a huge cheer greeted my arrival – and of course I was well pleased I had made the final cut.
In August 1979 ,a week after the second Zep Knebworth show we went to Wembley Stadium to see The Who on a bill that included AC/DC (with Bon Scott), The Stranglers and Nils Lofgren. The Who were still great with Kenney Jones on drums but it was a somewhat challenging day – with lots of crowd trouble down the front.
I've seen The Who a fair few times since 1978 – notably at the Watford Town Hall in 2002, at the London Forum 2004, the Quadrophenia presentation at the Royal Albert Hall in 2010 and on March 23 2015 at the 02.
Even though they are now down to The Who Two , their catalogue of era defining music is still a crystal clear definition of what rock is all about – the last occasion I saw them at that 02 Arena was yet further testament to the lasting durability of The Who.
As for the Shepperton experience, well I've dined out on that clip many times since that leap of faith all of 40 years ago. I'm still in touch with the legendary Who fan Irish Jack who was there on those magic Shepperton afternoons – in fact I was in touch with him this week.
Looking back now, It was a moment that crystallised the impact a live performance can have.
It was a completely unplanned spontaneous action. If I had planned it, I would probably have worn a Who T- shirt rather than the McCartney/Wings London Town one I had on!
My Facebook friend Michael Starke described this photo (a still from the footage) of me hugging Pete as "The greatest fan interaction shot ever".
It was some afternoon back in 1978 and 40 years on, the memory of it all looms ever large and pleasingly so…not least because it can be seen from several angles on the YouTube clip.
Friday treats at the Vinyl Barn – at the always excellent Vinyl Barn last Friday, I was pleased to find a Best Of Uriah Heep – a US copy on Bronze/Mercury plus I could not leave a copy of Led Zeppelin III in the racks even though it was minus the wheel – therefore it' a unique copy I'd say – I may even have a spare wheel somewhere!
Here's another pic from my meet with Phil Tattershall – In the excellent Empire Records in St.Albans where Phil is admiring a copy of my Then As It Was Led Zeppelin at Knebworth 1979 book – as he would do as he took the cover photo – nice one Phil!
I thoroughly enjoyed the Royal Wedding – one of the highlights of which was the very poignant version of the Ben E King classic Stand By Me by Karen Gibson & the Kingdom Choir. I've always liked the spontaneous version performed by Led Zeppelin live in Japan in 1971.
Another full on week here -the Evenings With book completion is proving very challenging – and we are not there yet. Co-author Mike Tremaglio has been doing an amazing job overseeing the proof reading. There's still a lot to and it's impossible to let go until we get to the finishing line.
At the same time, I am trying to keep a hold of everything else going on and it's not proving easy. I would love to be at the Robert Plant shows this weekend but the book schedule has made that a bridge too far. The pressure of the book schedule and the frustrations surrounding it (and believe me, there are frustrations), along with one or two other things, has caused me to slip into a depressive black dog mood on more than one occasion recently. With the help of some inspiring people close to me, I've had to shake myself out of it and move forward in a more positive frame of mind.
Re Who post Keith – I agree playing on was the right decision for the band. Kenny Jones was a great fit on paper but big shout to Zak Starkey for carrying the weight of this job and others too over the years. We both saw him live with The 'OO in North London 2004 – simply stunning.
Stand By Me was performed by Led Zeppelin in 1972, not 1971 — Festival Hall, Osaka, Oct. 9th, 1972 to be exact. Just a caress mistake I assume.
Coincidentally, they had given a delayed, second encore on Osaka first night the previous week, presumably because of Robert's fatigued voice. On this occasion the reason was more positive.
All my speculation, after all.
Enjoyed reading the celebration of FON 25th anniversary. While certain things we might have been enthusiastic about way back in the day don't always necessarily age well, FON has easily stood the test of time, and to these ears stands as Robert Plant's finest solo achievement, hands down.
The b-sides which emanated from those sessions were also great and could have comprised almost a mini-album on their own. I love all of the acoustic blues material he recorded with Rainer Ptacek.
The Who stuff is classic!
Pretty cool playlist. Hejira by Joni Mitchell is my favorite album of hers, and Amelia is my favorite song by her.


pediatrics and infectious disease, he is the only practicing pediatric infectious disease specialist in northwest Atlanta. After working with a pediatric group for many years, Dr. Graham is excited to welcome your family to his own practice in Woodstock, Georgia.
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Dr. Graham also provides expert care for pediatric infectious diseases, both in the hospital and in the office. Recognizing that infectious disease can be especially worrisome for parents, Dr. Graham shows great empathy and compassion for both patients and caregivers dealing with such a condition.
Our comprehensive approach to health – focusing on the mind, body and soul – includes timely counseling and involves the family in treatment and management options.
Dr. Graham, his wife, and two daughters are a deeply Christian family whose ideals permeate the practice. They are actively involved in local preventative health initiatives as well as national and international non-profit medical missions and organizations.
When you want the best pediatric care and sincere concern for your children, turn to Graham Pediatrics of Woodstock. Request an appointment online or call us today at (770) 485-9670.
Copyright © Graham Pediatrics of Woodstock. All rights reserved.
Woodstock pediatrician offering walk-in appointments for cough, cold, flu, allergies, asthma, eczema, skin rashes, diarrhea, vomiting, strep throat, cuts, scraps, sprains and strains, fractures, sports related injuries, ongoing diabetic care, ADD and ADHD screening, stomach ache, stomach flu, ear ache, ear infections, immunizations, school physical, camp physical or sports physical and more. As a board-certified Infectious Disease Specialist in Northwest Atlanta, Dr. Graham also specializes in the care of immune deficiencies, immunology, bone and joint infections, heart infections, respiratory infections, HIV and AIDS, hepatitis, Lyme disease, recurrent infections or fever and other infections with unknown causes.


Write the code for a message whose method is send Two. There are two arguments for this message: a double and an int. Send the Double value of 15.955 and the Integer value of 133 in the message.
CHALLENGE: Write the code for a message whose method is send Two.
There are two arguments for this message: a double and an int.
Send the Double value of 15.955 and the Integer value of 133 in the message.


text:
Q: How to run function from another python file I have a.py :
   Class boxfinitestatemachine(models):
   .....
       @transistion...
       def hello(self):
           Print happy
       ....
       @transostion..
       def bye(self):
           Print sad
        ....

Normally this would get run as : press F5 & in shell window, give commands as:
        >>>State= boxfinitestatemachine()      #input
        >>> State.hello() #input
        >>> happy         #output
        >>> State.bye()  # input
        >>> Sad           #output

Now I have anothe file b.py, which includes FOR loop function as:
         For I in range 2:

Now I require , if I==0, state.hello have to get executed & happy should be printed.
Similarly for I==1, state.bye should be executed & Sad should be printed.
How to perform this requirement. Any help pls.

A: You can import the boxfinboxfinitestatemachine on the file b, and use as you used on terminal.
from fileA import boxfinboxfinitestatemachine

State = boxfinboxfinitestatemachine()
for i in range 2:
  if(i == 0):
    State.hello()
  if(i == 1):
    State.bye()


text:
Sounders: Leagues Cup
Details of expanded Leagues Cup revealed
Teams will play in three-team groups during July and August.
By Jeremiah Oshan@JeremiahOshan Oct 6, 2022, 11:05am PDT
Share All sharing options for: Details of expanded Leagues Cup revealed
Gary A. Vasquez-USA TODAY Sports
About a year after the tournament was first announced, details of the expanded Leagues Cup were finally revealed on Thursday and, well, it's a lot.
From a top-line perspective, all 47 Liga MX and MLS teams are scheduled to play 77 games spread out from July 21-Aug. 19, 2023. Both leagues will place their seasons on hold during the tournament, which will come directly on the heels of the Concacaf Gold Cup that is scheduled to run June 29-July 16.
All of the games will be played at MLS stadiums in the United States and Canada, with hosting rights determined by the 2022 Supporters' Shield standings.
The MLS Cup champion and the Liga MX Clausura or Apertura winner with the better combined record over both tournaments will receive a bye into the Round of 32, with the other 45 teams split up into 15 three-team groups. The top 15 remaining MLS teams in Shield standings will host each of the groups. The top 15 remaining Liga MX teams will be seeded by their regular-season standings, with higher seeds matched up with lower MLS teams. Finally, the two remaining Liga MX teams and 13 remaining MLS will be teams drawn into groups and distributed geographically. Two groups will end up with two Liga MX teams while the rest will have two MLS teams.
The seeded MLS teams will host two matches, the unseeded MLS teams will host one match and matches between two Liga MX opponents will be played at "select" MLS venues. Games that end in a tie will go straight to a penalty shootout where the winning team can earn an additional point, the same format employed by MLS NEXT Pro this year.
The top two teams from each group will advance to the Round of 32, where they'll be joined by the Liga MX and MLS Cup winners. From that point forward, it's a straight knockout tournament with the games hosted by the highest-seeded MLS team. The final and third-place matches will also be hosted by the higher-seeded MLS teams, or at a "select" MLS venue should the game involve two Liga MX sides.
Every MLS team is guaranteed to host at least one game, the vast majority will play at least two and some of them will play as many as seven games during the course of the tournament.
The winner of the tournament will get a direct spot in the expanded 2024 Concacaf Champions League Round of 16, while the second- and third-place finishers will go to the Round of 32.
Potential problems
While MLS has at least created a format that appears to be reasonably compelling, there are some pretty notable drawbacks. The first is that by coming directly on the heels of the Gold Cup, it almost ensures that the league will be forced to play through that entire tournament. Teams like the Sounders routinely lose 5-7 players for the Gold Cup.
Compounding that problem is that the length of the Leagues Cup means as many as 15 MLS teams could be left without meaningful matches to play for at least two or three weeks, while others stack as many as five additional matches onto a 34-match regular-season schedule, Concacaf Champions League which could add as many as eight games, U.S. Open Cup that could add up to six more games and even up to three FIFA Club World Cup matches. That's before we even get to the MLS playoffs, which consist of as many as four games, and they've not even made any formal announcements about ending Campeones Cup or the All-Star Game.
While it's unlikely any team would max out their games, it's at least theoretically possible that the busiest MLS teams would play 63 competitive matches over a full season while the least busy could play as few as 37. For comparison, Liverpool maxed out their games played last year and finished with 63.
As it currently stands, the Sounders would be guaranteed to host just one game while likely being drawn into a group that would be hosted by either the Portland Timbers or one of the Los Angeles teams.
Why are they doing this?
There will be plenty of people who feel as though this is an unnecessary distraction and the kind of thing that "against modern football" types decry for both legitimate and silly reasons. But both Liga MX and MLS have made clear that they believe this sort of thing is mutually beneficial and there are plenty of reasons to think it will be popular, even if it's a bit divisive.
MLS will finally get to tap into the sizeable Mexican-American market that they've struggled to appeal to. This is a big part of why Apple TV was willing to fork over $2.5 billion for broadcast rights over 10 years. But Liga MX is also looking for ways to appeal to those same fans. It's estimated that more a third of Liga MX fans live in the United States, and this promises to grow that number.
Liga MX president Mikel Arriola said last week that he believes the tournament will help Mexico's top flight become one of the top 5 leagues in the world.
Noted that of the league's 157 million fans, 60 million live in the U.S. https://t.co/ogdvJjdEUv #LigaMXeng https://t.co/ty4LNHVGNL
— Cesar Hernandez (@cesarhfutbol) October 6, 2022
In case there's any doubt about the interest in these games, look no further than this summer's "showcase" games that weren't even official competitions. The LA Galaxy-Chivas de Guadalajara match drew a combined audience of more than 1.5 million people while LAFC-Club America had about 500,000.
For context, MLS's average national TV audience has hovered between 200,000-300,000 for the better part of the past decade and MLS Cup averages about 1.5 million.
Leagues Cup matches have not been as much of an in-stadium draw — the Sounders averaged about 15,000 in their two games in 2021 — but many of the 2023 games are being included in season-ticket packages.
I've long been pretty skeptical of this tournament, but for all its drawbacks I do see the appeal.
Next Up In Soccer
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Guest Column: The argument for promotion and relegation in MLS
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McRay Vision Episode #21: In this Vlog post Eric discusses should visual artist make prints of their artwork? How do I price them? How many do I print? Which subjects should I print? Giclees versus hand pulled prints, which direction should I go?


text:
Q: How to hide output of first command when using the || operator and exit? This hides output from the first command, and prints Oops to stderr if it fails. So far, so good.
#!/usr/bin/env bash
invalid_command > /dev/null 2>&1 || >&2 echo "Oops"
echo hi

That outputs this:
Oops
hi

But I need to exit as well as  printing a message if the first command failed. So I tried using parenthesis.
#!/usr/bin/env bash
invalid_command > /dev/null 2>&1 || ( >&2 echo "Oops" ; exit )
echo hi

Here's the output of that:
Oops
hi

But now the exit doesn't work because it's doing it in a subshell, causing it to print hi, even though I wanted the script to exit.
So, how do I get Bash to echo some text and exit if a specific command failed using the || operator? I'm aware that I can use an if one-liner to do that, but I'd prefer to not have to use a full if statement if I can avoid it.
#!/usr/bin/env bash
if [ "$(invalid_command > /dev/null 2>&1 ; printf $?)" != "0" ]; then >&2 echo 'Oops' ; exit 1; fi

A: Use command grouping (notice the ; on the end of exit).
#!/usr/bin/env bash
invalid_command > /dev/null 2>&1 || { >&2 echo "Oops" ; exit; }
echo hi

Return this on my terminal.
$ ./test.sh
Oops

If you have a lot command, you can trap all errors.
#!/usr/bin/env bash
on_error() {
    >&2 echo "Oops"
    exit 1
}
trap 'on_error' ERR
invalid_command > /dev/null 2>&1
echo hi

This will print Oops and exit immediately, if any command on the script is failing.