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DJ Solitare – The Future Was Now: The Tracks
The long-awaited track list for DJ Solitare's mix The Future Was Now is finally revealed! More than a mere track listing, read on for Mark's incredibly thorough recounting of each of the 30 tracks in the mix, with trivia and personal anecdotes that really lend this mix historical value.
"Below are my notes for the tracks that I have used in this mix. There is a lot of detail here, but there are lots of musical details in each of these tracks, and everything we work with in our lives has lots of associations like these."
One of the things that used to make trance parties so great was that in the heyday of the scene each track was a story unto itself, an event as opposed to 'just another track'… 'all killer, no filler'. I have some personal history about my own experience with pretty much all of these tracks, and occasionally some details about the tracks from the artists themselves.
When I first came into contact with this music, there was not the current artificially contrived categories for different genres – there was an awareness of what music worked when and the different languages (for example, the 'alien voices folding out of sheet metal' sound that was favoured by Transwave and the Pleiadians), but categories like 'Goa' or 'full-on' that have been retroactively created by fans of the music were not there and in fact these are not always entirely appropriate descriptions. The music was like light – there were different shades and different expressions, not boxes in which to place them. (Actually, just as I was reviewing these notes, a discussion started on one artist's Facebook page after he posted one of the tracks in this mix and someone referred to it as 'Goa trance', and he said that he hated labels. Something worth taking note of, from the mouth of the artists whose music we love…)
I believe that DJs bring their personal history with and experience of the music that they play into their sets, and I am happy to have had the opportunity to share my love of this music with you.
Astralasia: Astral Navigation
I was record shopping in Tokyo with Jay of the Odyssey parties in late 1994 and when he saw this CD, he put it in my hands and said, "Buy it, you'll love it, and if you don't I'll pay you for it." As usual, he was right. At the first outdoor party I went to in July 1995, this track was the first one played, and I'll never forget how it sounded echoing through a valley in the Japanese countryside. I have only used the opening of this track to set the tone for this musical trip.
Juno Reactor: High Energy Protons
Juno's first album 'Transmissions' was a groundbreaking disc, as it doesn't fit as neatly into musical categories as many more conventional electronic releases do, and it has stood the test of time. This was a sound favoured by the Equinox crew, with its harder edge and rock-inspired sound. It's incredible that this is only 131 bpm – one-thirty-one, folks! – which just goes to show that it is not just speed that gets a dance floor moving.
Voodoo People: Quadsep
This fantastic track by Paul Jackson, one of the originators of the early 'Goa trance' sound, was released on Blue Room's first compilation in 1995. I recall getting this CD in Tokyo in September 1995 and shortly afterwards going to a now-legendary party thrown by Equinox on the Autumn equinox that month, and this being the first dance track that Kuni played in that awesome all-night set (after boring us by playing the *entire* TIP 'Mystical Experiences' album, which he probably thought was still unreleased at the time – something that led one British partygoer to yell out, 'Oy, I've got some Juuuno Reactah in the car…'). I remember being thrilled to read in the booklet that the track was from his 'forthcoming album' – there were no artist albums out yet, Hallucinogen's 'Twisted' being released only a few weeks later – and sadly the Voodoo People album, in true Blue Room tradition, never manifested. A wonderful groovy track with a unique rhythmic element and sonic framework, both of which make it a challenging track to mix. (Actually I'm not happy with how the mix-in went in this particular mix of mine, but that's the way it goes sometimes…)
Kox Box: Loads of Flow (Molecular Mix)
Kox Box's first album is an absolute classic, and all the tracks still sound fantastic. Kuni played this one early in his set at that Autumn Equinox party, and I tweaked out a friend of mine at the party when I leaned over and whispered into her ear the track's spoken sample 'Welcome to my world' in unison with the track. She eventually recovered. 🙂
Prana: Mōretsu
This is Tsuyoshi Suzuki and Nick Taylor at their high-energy peak. I first heard Tsuyoshi play at one of Jay's Odyssey parties in November 1994, his first return to Tokyo since moving to London to found Matsuri Productions. As the name 'Matsuri' implies (it means 'festival'), the dance floor can be an uplifting place and Tsuyoshi was a master at whipping it up to a frenzy. He had a sound which has sadly disappeared: upbeat but strong, spaced out but grounded. This track truly sounds digital and electronic (ironically unlike a lot of electronic music nowadays), and the whooshes (which have sadly become a thing of the past) and the sounds of shooting stars give this piece a cosmic vibe, even if the engineering and one of the melodic riffs sound somewhat dated.
Johann: Life's Games
I got this track from Chrisbo (of Medicine Drum) in the summer of 1997 when I was living in London. He always had the best tracks and was a generous trader (unlike so many in the DAT Mafia). The track had a different title and was a different mix from the one released on Johann's album on Blue Room. I don't know whether Johann's music got a lot of airplay, but it has a wonderful vibe that bridges uplifting with night-time energy. Great, great track. (I'm using the released version here – sorry…)
Blue Planet Corporation: Xoco
This fantastic track has a unique combination of being upbeat and lightly textured while still having a hardish edge with its synthesized quasi-guitar sounds. I love the geometric patterns (which used to be more common), the up-and-down movement (which also used to be more common), and the driving upward momentum (you guessed it…which used to be more common). Not overly complicated and yet mind bending in a wonderful way.
Slug: Slugfest
This collaboration between Tsuyoshi and Gus Till is a dancefloor ripper. It was on Matsuri's 'Resonance Mood' compilation, which is the first comp I was giving a pre-release copy of: label manager John Perloff greeted me in the DJ booth at a Return To The Source party at the Fridge in Brixton and slipped me a copy, completely unexpectedly. I was floored by the selection, and this track in particular caught my ear. I used to DJ at the Daniel Poole shop in Soho in London, and one day Tsuyoshi and I had a bite to eat before my 'shift'. I played a Jaia track ('Brainstorm') straight into this one, and his ears perked up. I remember thanking him for playing the track after a party and him saying 'I thought of you cuz I know you like it'. It is super-high-energy and reflects the amazing triumphant energy that this Japanese master was able to bring to a party.
X-Dream: Panic in Paradise
This track used to get the biggest response on the dancefloor in London, where the crowds were notoriously fickle, and I couldn't get it… I mean, it's a good track and all, I love it, but considering how cold they were to so many amazing tracks, I was surprised that this one would consistently have them howling. I recall having a discussion to this effect with Mark Allen and Tsuyoshi after a Return To The Source party, and Mark saying 'Well, it's a great track' and me saying, 'Yes but is it THAT great?' and Mark laughing… Well, it IS pretty darn good – I guess I just wanted to have more of what the rest of the crowd was having. X-Dream were at their uplifting peak when they produced this (though I think 'Coming Soon' is the jewel in their crown).
Kox Box: Point of No Return (Ionizer remix)
A fantastic remix of an amazing track, with a really strong driving vibe and lots of brilliantly tweaked electronic sounds. The sheet-metal sound is head-bending and it's a full-power track – unfortunately a short one.
Crop Circles: Antonomasia
The appearance on the scene of Crop Circles music was a major event in my experience of trance. I remember copying the first vinyl onto DAT at 'Purple' Richard's house; this track I actually received from the owner of Auracle Records. I visited him at his home shortly before moving back to Tokyo in early 1998, and he was copying the soon-to-be-published-but-it-actually-wasn't album onto demo cassettes. He asked me if I would be willing to give some CD singles out to contacts in Japan to try to get distribution going, and he gave me about 8 of them (he wouldn't give me a cassette of the album, unfortunately). I did give some to some record stores and DJs there, and still had a couple for myself. Then the album didn't come out, Auracle folded, and these singles became major collectors' items. And it was this experience that connected me with Federico Rossi, who would go on to found DAT Records and release this album, and make me a label DJ. As for the music – this is a brilliant track, with a wonderful marching rhythm and a repeated-note mid-riff that hypnotically intertwines with the other voices. Music for outdoors under the stars.
Doof: Destination Bom
This track is connected to one of the most amazing musical experiences I have had in my history with trance. Tsuyoshi had asked me to DJ at his home moving party, and there were a lot of people in the industry there. I can't remember why one DAT player wasn't working, but I remember Dick Trevor providing the extra player and Simon Posford getting some batteries from his car because there wasn't the AC cable (seriously, I'm not making this up…). I played after Tim Healey's eclectic mash-up, and was getting requests for 'oldies but goodies' (already back then). I wasn't quite in the vibe – not many people around his living room at the time, most off in the kitchen – and then Tsuyoshi came to play his set. After a short while he came up to me and asked me to take over as he was getting tired, and talked about what track to mix out with – I suggested Prana's 'Aquaspace', which he thought was a great idea. Partway through that track, Nick Doof comes up to me and says 'I have a track that would mix really well out of this if you're interested' and I was like, 'You bet!'. He opens up his DAT bag and pulls out a live set mix. We cued up the mix of this track, and I blended it in, and out came the most gorgeous, flowing, beautiful track I can remember hearing. It was magical – slower (if memory serves correctly) than this original and more of a sunrise vibe than the original's night-time edge. I mixed it smoothly into the next track – the same next track as in this mix – and the DAT went back into Nick's bag and that was that. While the vibe is different, I do love this original mix – a really relentless but uplifting track that takes you on a wonderful journey.
Pleiadians: Maia
There was a lot of talk about the upcoming Pleiadians album on Dragonfly in the summer of 1997. I visited label manager Darren at the office one day in July and it had finally arrived – possibly one of the ugliest covers in trance history but wow, what an album. This first track has always been one of my favorites (Tsuyoshi opted for Alcyone, and Electra was the first I had heard played out pre-release). This is the one that has always appealed to me most (followed closely by Asterope), as it is much more emotionally deep. It's a true middle-of-the-night track that features a beautifully haunting melody and explosions of emotional outpouring, screams that call out to the deepest corners of both outer and inner space. This is not a track, to my mind, that can simply be mixed in through kick-matching anywhere in a set, and so I have opted to mix in with the melodic connection with the preceding track, and a pitch-matched baseline on the way out.
Rhythmystec: Stellium
The first of five tracks produced by the team of Ray Castle and Nick Taylor, this is one of my all-time favorite tracks for so many reasons. It was a favorite of Kuni's, and some friends and I used to completely trip out on it at his parties, and whenever we said 'Did you hear it?', we knew this was the track we were talking about. What is so clear in this track and what has been lost in recent years is how each voice is *speaking* to you – it is easy to imagine that each line is an alien voice that is communicating essential information. (Nowadays, the voices are coming from the dumbest corners of the galaxy – those aliens don't have much to say.) The 'guitar from outer space' riff is fantastic, the electronic noises are amazing (as if tuning in a giant intergalactic radio), and then there's that Pleiadian-Egyptian 'downloading from the mothership' riff that is simply one of the most amazing lines in any trance tune ever (keep in mind that this was written before the term 'downloading' was created – there was no internet at this point, but the energetic concept was clear). The way Ray and Nick present the introduction as a chopped-up mixture of elements from the full track is terrific (there's a metaphysical truth in there), and then all the brilliant voices that were built up throughout the track fit together amazingly (another metaphysical truth): perfect counterpoint that Bach would have admired. While I heard this track a lot in 95-96, it wasn't until mid '97 that I got my hands on a copy. For this mix here, I am using a WAV file that Ray Castle sent to me earlier this year, and am happy to present this incredible track in full-frequency fidelity and I think well-placed in the story, as one starts to enter the deepest part of the night. Like the preceding track, it is an event more than just another track, and has to be well programmed and introduced in context.
Byte 1: Byte 1
The only track by Graham Wood and Xavier Morel, this is a classic. It was released on Flying Rhino in 1998 (Graham had already parted ways with Raj and TIP) and was an immediate addition to my Top 10. It is relentless and has that brooding, moaning, whining sound that old-timers will say is the real Goa sound (as opposed to the cheesy Indian melody kind of stuff that the internet groups have labeled as such). There is a level of emotional depth in the anguished cries in this track, as well as a really grounding four-on-the-floor element. To those who think that Raj and Simon alone created the sound of The Infinity Project…think again.
Hallucinogen: Thugs in Tye Dye
Simon's music has always been among my top picks – LSD was the one that used to get the party totally rocking, and 'Astral Pancakes' was widely played at the time – and I try to have one of his tracks in each set. While his was the first artist album and has become synonymous with Goa/psychedelic trance, his sound is actually an anomaly and is really unique. This full-power night-time stormer appeared on a CD single and has always been one of my middle-of-the-night go-to tracks.
Psychaos: Chaos to Order
Joti at his darkest and most brilliant. The thrash-metal vibe here is fantastic. He always had the grooviest melodic baselines, even when things were as dark as they are here. Again, the voices of the melodic elements are very clear and a key component to this track's success.
The Groupie Syndrome: Pacemaker
This was my number 1 track from mid-1998. I first heard it in the summer of that year when Tsuyoshi opened his set at the legendary Equinox Strong Sun-Moon party. I had left the main music area because Miko had ruined the opening set with some nasty cheesy melodic rubbish, but when I heard the pulsing heartbeat and descending cascades from this introduction, I immediately raced over to the dancefloor, bumping into David from Hikari. We had both recognized that it felt like Tsuyoshi was starting even though he had been scheduled for later. As it turns out, Tsuyoshi was apparently pissed off that his time slot was changed and that his manager wasn't yet there, and his anger found a perfect vehicle in his amazing track (what an appropriate vocal sample). The Delta had been one of my favourite sounds (I was the only Tokyo resident DJ other than Tsuyoshi to have 'Traveling at the Speed of Thought' prior to its release, and I played it loads before it got overplayed), and I could sense their handiwork here; Tim Schuldt's presence adds an extra level of intensity. Domino then played it at party we both played at that August – I had a DAT player recording the whole night, but she mixed it in a way that I couldn't use it … 'curses, foiled again.' I can't remember when I did get it, but I know I played it a lot when I did. A classic.
Oliloqui: Argonaut
An absolutely blinding track by a project that is certainly not on most collectors' Top 10 lists. Their album on Spirit Zone is very eclectic and has that organic feel that a lot of German trance does, but this one is a high-power night-time stormer with a massive anthem and rhythmic march that is a perfect under-the-stars transformer.
Sun Kings: Starbuck (Anatomae Fabricus mix)
An amazing, beautiful track that I've never heard anyone else play out. Just before I left London in early 1998, I was getting my hands on as much music as possible. Someone told me that there was a new guy working at Blue Room who was fantastic (naturally, he didn't last too long) – I'd never had any connection with them, despite having done an interview for Cydonia in Dream Creation that they were all thrilled with, so I called up and told the guy I was moving to Tokyo to DJ and a few days later a package of amazing CDs arrived: the remix of Radio (called 'Radiohead') by X-Dream [I'd never liked the original – this one I played a lot], Cydonia's 'Mindhunter' single, I think Johann's album, and a single by Sun Kings. This track is the epitome of the essence of DMT for me, and bridges twilight perfectly with a funky, earthy, cosmic, harmonically twisted, and beautiful sound. I opted for a long intro and outro here as I think that at outdoor parties it is important to take a breath and notice the second-by-second change in light that occurs at this time. A track that makes time stand still.
Psychaos: They Tried to Grab Me
A track that surely would have been on Joti's artist album if Blue Room had had their act together. This is an early one – the flip side of his 'Science Fiction' single. I got this particular copy from a DAT that Joti had sent to Serge from Total Eclipse that was dated 1994. (Alas, Science Fiction wasn't on the DAT…) The relentless jackhammer repeated-note riff in the intro is mental, and then that immediately recognizable groove in the baseline is fantastic.
Etnica: Astral Way
Another early Blue Room classic from the early days, one that Kuni used to play a lot. It is quite a different sound than usual for Etnica, though I hadn't realized that when I got it back then. Again, if you listen as though each melodic line is a voice, the track really does speak to you.
The Saafi Brothers: Internal Code Error (X-Dream remix)
A fantastic mix by the fantastic X-Dream of the fantastic track by the fantastic Saafi Brothers. Their 'Mystic Cigarettes' is an absolute classic and this remix of one of the key tracks by one of the top producers of the genre is an important track. Perfect for that change in direction that takes place as daylight approaches.
The Infinity Project: Stimuli (Man With No Name remix)
I first heard this track towards the end of an indoor Equinox party played by Kuni (though I have it on good authority that he was playing DATs premixed by Masa at that event). I love TIP and I *love* Man With No Name, and the arpeggiated opening immediately appealed to me – it keeps the wonderful bounce-up riff from the original and adds a deliciously groovy and beautifully patterned baseline that Kuni was able to play in a way that others simply could not (even if he couldn't really do so himself).
Space Tribe: Geo-Matrix
Dragonfly's Order Odonata Volume 1 was such an important release that everyone was naturally waiting for Volume 2. I thought it was a bit of a disappointment, but that wasn't immediately recognizable because this corker was the first track on the comp. One of the four tracks that Simon Posford and Olli Wisdom produced under the 'Space Tribe' moniker, it is also the best-produced of their collaborations. Fantastic rubbery baseline and super pitch bends for a great mind melt, and a spoken sample that reiterates what I said in the 'Stellium' notes above.
The Infinity Project: Alien Airport
Another track I first heard at an Equinox party – the same Autumn equinox party of September 1995 I wrote of earlier, played in the daylight as the party was not quite ready to wind down. I recall thinking that it was pretty good while some friends were thinking it was the most amazing thing ever. I now pretty much concur with them. As the track was made not just with Graham and Raj but also with Man With No Name's Martin Freeland, it has an extra kick to it. The spoken sample is a really well-chosen one.
Slinky Wizard: Wizard (Kox Box remix)
The original mix of this track is a classic, the first one the Flying Rhino boys had made, with Simon Posford desperately trying to meet all their 'do this! do that!' suggestions. The remix by Kox Box was very highly anticipated and from what I gather not entirely well received, and while it bears very little resemblance to the original, it sure is an incredible track. The bouncy vibe and upbeat mood eventually leads into a wonderfully voiced riff that sounds like it is played on cosmic Jamaican steel drums.
Killing Joke: Jana (Hallucinogen remix)
An amazing track by the Guvnor, one which I tried getting my hands on early in 1998 but which failed in two DAT sessions with massive glitches. I love the rubbery base, Posfordian harmonies, and driving momentum that whips things up into a frenzy.
Gong: Isle of Everywhere (Total Eclipse remix)
Identified on Stef's DAT as 'Gong remix', this track is a beautiful morning track, the likes of which Total Eclipse were peerless at producing. I had the opportunity to hear this amazing project many times, first in Japan in 1996, and got to know them personally and their particular flavour of music very well over the years. As was the case in the day, each project had their own sound, even when it was a different style of track from their own 'norm'. Total Eclipse had a variety of sounds appropriate for different parts of the journey, though they did particularly well with morning music (whereas others wrote mourning music…). I passed this track on to some Japanese and Canadian DJs and it worked its magic at several events in the morning.
Encore – Psyko Disko: Mon Ami
A wonderfully paced track that is perfect to end a party: groovy and funky, yet somehow fusing a hard rock-ish edge with an upbeat vibe, with oscillating patterns and major drive. A track with a slower tempo like this can actually bring out a lot of energy. The sample at the end is perfect for bringing the set to a close.
Read more from Guest Mixes, Words Only
dj, download, goa trance, mixtape, mp3, old-school, psychedelic trance, psytrance
← DJ Solitare – The Future Was Now
Mind Rewind →
excellent choise
nice flow
waiting for the next one
Mark aka Solitare
Thanks, Elias!
What a great read! Utterly fascinating! I haven't gotten around to downloading the mix yet, but a story like that certainly needs a soundtrack!
Solitare aka Mark
Glald you liked it, Spork! Hope you'll like the mix too. The tracks from those days sure were rich, and doing the mix brought back a flood of memories!
draeke
Awesome stories Mark, you have always been a master or better a joker in disguise but of those joker that know what to do, and here my friend, you really did an awesome job. Both musically speaking and in story telling. So many great stories I heard from you, thanks for sharing more and with a musical soundtrack!
Glad you like it, Mr Draeke! More to come in the future, I expect…
Fredrik Alm
"Oliloqui" is misspelled, should be "Ololiuqui". Made me run in circles on discogs for a while …
Cheers and thanks for a wonderful mix and a great story!
No words its like we where there with you when I read your notes, Bellissimo
Grazie! So glad that you enjoyed the ride… glad you could join in!!
Sounds like a lot of name dropping and "oh look at me" but hey we are talking about dj's here. Pity your mixing doesn't match the tune selection.
DJ Solitare – The Future Was Now | Tales from the Goat Ranch


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redpajama_set_name: RedPajamaGithub


Still in St. Helens… | Decks Awash!
Dad came to visit the other day, and it was very nice to see him. He drove three hours up the coast to see us and drop off our collected mail. Lachie was very happy to see the first three of the Inheritance Cycle books we ordered, calling it the "Best day so far".
Dad shouted some fish and chips as lunch for all from the nearby fish'n'chip paddle boat takeaway place, and very nice it was too. I got to mine a little late because of some drama with our shore power connection.
There are a limited number of power points available on the dock, and the ones near us are all taken by fishing boats, so we daisy-chained our connection off our next door neighbor, a converted 30-something foot ex-fishing boat. Unfortunately his old shore power plug requires a seriously firm shove to get it into it's socket, more of a shove than I gave it. Bruce, the owner of Patty 2 came down to look at his boat to discover that not only did he accidentally left a light on, but his battery charger hadn't charged anything, his bilge pump wasn't working and his bilges where rather full and his main battery bank was flat. Feeling quite responsible for the mess, I felt I should forgo my lunch and helped him sort the mess out.
It was really great to see Dad, and we were a little sad to see him go.
I have been suffering with an eye infection for the last four days. Over the weekend my eyelid became quite swollen and painful. It's better today, but my good wife is trying to convince me to go to a doctor and get a prescription for some antibiotic eye drops on the basis that they will be useful later on.
Not feeling like getting out and about with a droopy eye, I spent a day getting our AV entertainment extravaganza sorted out. About a year ago we bought a 17″ LCD TV with a built in DVD player from JB HiFi, the primary attraction of the unit being that it could run off 12v DC. Based on a recommendation from Richard Andrews, a good friend since my Uni days, we also picked up a WDTV device to play media from hard drives… It also runs off 12v DC. Knowing a bit about how noisy DC wiring can be, and how sensitive digital electronics are, I also purchased a 12v regulator good for 6A power supply from Jaycar.
Not too long after these purchases, we were down in the Duckpond and the boys were keen to watch a movie. Not having an appropriate plug for the 12v inlet on the TV I hunted about and found the WDTV plug to be a perfect fit. A quick snip with some cutters to remove the plug, 15 minutes, a bit a spare wire and some crimp on connectors and Shazam!, we were watching a movie, albeit at the cost of not being able to use the media player. Fast forward 12 months and as we were getting ready to leave Kings Pier Marina, I found myself in Jaycar getting some bits and pieces; I remembered the AV extravaganza project. Larissa had been on me cleaning up the jury-rig of wiring too, to clear up the mess in the locker.
There's now a much larger wire pair run to support the higher amperage draw down the port side of the boat. This is a feed for all electrics port side, so running it involved making bigger holes and lots of reconnecting. This wire now runs to a positive and negative bus bar in covered cases in the head compartment. From those bus bars a positive feed runs out through a bulkhead to a switch I installed in a little jiffy box under the bookcase with the return running back to the 12v regulated power supply, now securely mounted in the head compartment. From the regulated supply, a feed runs back through the bulkhead to the TV and the media player. I made some brass straps for the media player so I could moist it securely under the bookcase, and then made up a elasticated net to put the hard drive in. From experience, the hard drives get a bit warm when running for a while, so the idea with the net was to allow air circulation while holding it safe in a seaway.
Turns out it's also a handy place to keep the remotes!
Nice looking fish! The fish we eat also come in a box!!! The sky looks blue and the weather fine. St Helens is a decent place to spend some springtime. We are scheduled to leave on the 23rd November for Lonnie. Pressure of a deadline! I recall your blog and have some concerns – but no window – no go!
If you guys get to the Tamar before us, we can catch up somewhere along the river. Dark Hollow (just inside West Arm – about one hour from the river heads) is the Tamar's Duck Pond. Many more good river anchorages along the way – and a few pubs!


The following questions are designed to guide members in evaluating their current BIT assessment initiatives. Based on the number of affirmative responses, each member will fall into one of the categories on the opposite page. These categories can be used to identify tactics particularly well suited to member circumstances. Note: questions should be answered from the perspective of the BIT Chair.
1. Does your BIT track data on basic metrics, such as the number of case, types of concerns, and referral sources?
2. Do you track data on advanced metrics, such as number of reports for key student subpopulations (e.g., athletes, international students, Greek students), the number of students of concern by academic major, and the number of mandated assessments?
3. Is caseload data aggregated into a summary document for inclusion in annual unit-level or divisional assessment reports?
4. Would your team consider uploading your BIT assessment results to your website for public viewing?
5. Does your BIT systematically share key data points with senior administrators across the year?
6. Do you track the retention and graduation rates for students who have been referred to the BIT?
7. Would your team be comfortable in soliciting student feedback about their experiences and outcomes from the intervention process?
8. Does the team regularly use assessment data to identify current resource gaps, pinpoint emerging populations of high-need students, and model future service adjustments?
0-2 No Assessment: The team does not track data on its workload and performance, nor does it review these quantitative measures with senior administrators and other institutional stakeholders.
The Forum urges teams in this category to track basic BIT Operations KPIs, such as the number of referrals per year and referrer demographics. These KPIs allow for a deeper understanding of team performance and workload.
3-4 Basic Assessment: The team tracks some data on its performance but lacks a nuanced understanding of case demographics, outcomes, and processes.
The Forum suggests that teams in this category compile advanced BIT Operations KPIs, such as the number of referrals by major and the number of mandated assessments, to yield a threedimensional perspective on the team's work.
5-6 Moderate Assessment: The team tracks essential data points and communicates them to senior stakeholders. However, team members struggle to connect this data to the institution's educational mission.
The Forum recommends that teams in this category explore Student Success Outcomes, focusing on metrics that demonstrate the team's contribution to institutional priority, such as retention, wellness, and academic success.
7-8 Advanced Assessment: The team tracks and reports out all key data points to senior administrators, including the impact of the team's work on student success.
The Forum advises teams in this category to integrate BIT data into strategic planning by Forecasting Future Student Needs.
Although institutions are increasingly investing in recordkeeping and case management systems, few BITs currently have robust assessment initiatives. While many groups can point to anecdotal evidence of success, experts note that systematic outcomes assessment is a very challenging endeavor in this terrain.
Forum research illustrates that few BITs currently dedicate time to data collection and results communication. When pressed to explain this oversight, some interviewees suggest that senior administrators are not interested in receiving granular data while others highlight growing caseloads, noting that they are too overwhelmed to aggregate and share key metrics.
As a result, BIT work usually remains invisible on campus with many institutional leaders unaware of the amount of time, effort, and resources invested in supporting students of concern.


The Eurocopter AS350 Ecureuil ("Squirrel") is a single-engined light helicopter originally manufactured by Aérospatiale (now part of Eurocopter Group). The AS350 is marketed in North America as the AStar. The AS355 Ecureuil 2 is a twin-engined variant, while the Eurocopter EC130 is a derivative of the AS350 airframe.
Development began in the early 1970s to replace the Alouette II, and the first flight took place on 27 June 1974. Despite the introduction of the EC130, production of the Eurocopter AS350 remains strong.
Both single and twin-engined versions have been built under licence by Helibras in Brazil.
On May 14, 2005 a standard-configured Ecureuil AS350 B3 piloted by Eurocopter test pilot Didier Delsalle touched down on the top of Mt. Everest, at 8,850 meters (29,035 feet) . This record has been confirmed by the Fédération Aéronautique Internationale.
Powered by one Turbomeca Arriel 1D engine.
Higher gross weight version powered by one Turbomeca Arriel 1D1 engine.
High-performance version, is powered by a Turbomeca Arriel 2B engine equipped with a Full Authority Digital Engine Control (FADEC) system. This helicopter is the first ever to land on Mount Everest. Recently introduced AS350 B3/2B1 variant introduces enhanced engine with dual digital FADEC, dual hydraulics and a 2,370 kg (5,225 lb) M.T.O.W.
Powered by a Turbomeca Arriel 1B engine and fitted with wider chord main rotor blades.
AS350 B2 variant selected to meet rotary-wing training needs of UK MoD, through its Defence Helicopter Flying School in 1996. Powered by a derated Turbomeca Arriel 1D1 engine to improve the helicopters' life cycle.
Designation of AS350BB in operation with British RAF as a training helicopter.
Designation of AS350BB in operation with British Army Air Corps as a training helicopter.
Military derivative of AS350 B1, powered by a 510-kW (684-shp) Turbomeca Arriel 1D turboshaft engine. Superseded by AS350 L2.
Military derivative of AS350 B2, powered by a 546-kW (732-shp) Turbomeca Arriel 1D1 turboshaft engine. Designation superseded by AS550 C2.
AS350 BA powered by an LTS101-600A-3A engine .
Royal Australian Air Force is former operator of the 18 Sqirrels. RAAF A22-001 to -012 were in service with RAAF from 1984 to 1990.
Australian Army Aviation is former operator.
Ministry of Defence's Defence Helicopter Flying School at RAF Shawbury - 38 AS350 BB helicopters in service with FB Heliservices for the for training all British Armed Forces helicopter pilots.
Royal Canadian Mounted Police operates a fleet of 8 AS350 B3 helicopters.
South African Police Service Air Wing operates 11 AS350B3s.
Anaheim Police Department operates an AS350 B2 helicopter.
Baltimore County Police Department operates three Eurocopter AS350B3 helicopters.
Bernalillo County(Albuquerque, New Mexico) Sheriff Department operates an AS350 B3 helicopter.
Broward County Sheriff's Office(Florida) operates an AS350 B2 helicopter.
California Highway Patrol operates 10 AS350 B3 helicopters and a single AS350 B2.
Citrus County Sheriff's Office(Florida) operates a single AS350 B3 helicopter.
Dekalb County Police (Georgia) operate 2 AS350 B2 helicopters.
East Bay Regional Park Police(Oakland, California) operates an AS350 B2 helicopter.
Hillsborough County Sheriff's Office(Florida) operates 3 AS350 B2 helicopters.
Lee County Sheriff's Office(Florida) operates two AS350B/B2 helicopters.
Los Angeles Police Department operates 14 AS350 B2 helicopters.
Los Angeles County Sheriff's Department operates 12 AS350 B2 helicopters.
Massachusetts State Police operates an AS350 BA.
Memphis Police Department(Tennessee) operates an AS350 B3 helicopter.
Oakland County(Pontiac, Michigan) Sheriff's Department operates 2 AS350 B2 helicopters.
Ohio State Highway Patrol operates an AS350 B2 helicopter.
Ontario, CA Police Department operates 2 AS350 B2 helicopters.
Orange County, CA Sheriff's Department operates 2 AS350 B2 helicopters.
Phoenix Police Department operates 3 AS350 B3 helicopters.
Pinellas County Sheriff's Office (Florida) operates 2 AS350 B2 helicopters.
Riverside County Sheriff's Department operate 4 AS350 B3 helicopters.
San Antonio Police Department operates an AS350 B3 helicopter.
San Diego Police Department operates 4 AS350 B3 helicopters.
Suffolk County Police Department(Long Island, New York) operates 2 Eurocopter AS350 B2 helicopters.
Texas Department of Public Safety operates three AS350 B and nine AS350 B2 helicopters.
U.S. Customs and Border Protection operates 48 AS350 helicopters, and in July 2008 signed a multi-year contract for up to 50 additional AS350 B3s to meet its Light Enforcement Helicopter requirement.
U.S. Immigration and Customs Enforcement operate several AS350 B2 and AS350 B3 helicopters.
U.S. Drug Enforcement Agency operates two AS350 B2 helicopters.
Utah Highway Patrol operates 2 AS350 B2 helicopters.
Washington DC Metro Police Department operates 2 AS350 B3 helicopters.
AS350 B2 operated by Heliflite picking up hikers in Enontekiö, Finland.
Wucher Helicopter operates the AS350 B3.
Australian Antarctic Division - uses the Eurocopter AS350 for intra-continental air operations in Antarctica.
Westpac Life Safer Rescue Helicopter Services - 2 Eurocopter AS350.
Fire and Emergency Services Authority of Western Australia - use 4 AS350 B3 for fire fighting.
3 AS350 B in service with Hungarian Air Ambulance Service, all of them received general overhaul in 2005-2007.
Iran uses several of them for geological survey and oil exploration.
1 AS350 B2 is operated by Northflight, also do they have one more on its way.
Fireman Helicopters Group, Autonomous Province of Trentoutilizes two AS350 B3 for mountain rescue, fire service, transport service and various civil defence activities.
Volcanic Air Safaris operates one AS350B Squirrel helicopter, registered ZK-IAB. The AS350B is commonly used for sight seeing, corporate charters, tourism, aerial video and promotions.
Netcare 911 uses the AS350B2 and B3 variants for Air Medical Services. South African Red Cross Air Mercy Services uses 4 AS350B2 variants for medical evacuations. N.A.C Helicopters utilises the AS350B for charter.
Flight for Life Emergency medical transport based near Denver, Colorado operates four leased AS350.
Air Mauioperates air tours of the island of Maui, Hawaii using a fleet of ASTAR's.
Safari Helicopters on the Hawaiian islands of Kauai and Hawai'i.
Jack Harter Helicopters fly AS350s on scenic flights on the Hawaiian island of Kauai.
July 1997, a AS350 with WPVI-TV in Philadelphia crashed as it was taking off to do news reports but the pilots managed to glide it to the ground safely and walked away from it.
On 27 July 2007, two AS350s collided in mid-air while reporting a police pursuit.The two helicopters were part of KNXV-TV and KTVK television stations in Phoenix, Arizona. Four crew members were killed by this accident.
On 15 September 2007, former World Rally Championship driver Colin McRae and three passengers were killed when his AS350 B2 Squirrel, which he was piloting, crashed near Lanark, Scotland..


ALTOONA, Pa.- Juniata men's tennis defeated Catholic, 6-3 in a Landmark Conference match, Sunday afternoon.
Owen Grafe (Newton, Mass. / Newton North) and Jason Gerber (Commack, N.Y. / Commack High School) picked up an 8-4 win at second doubles. Daichi McAuliffe-Uchida (Wantage, N.J. / High Point Regional HS) earned a 6-2, 2-6, 6-1 win at second singles, Grafe won 6-1, 6-2 at third singles, and Dan Ansel (Lancaster, Pa. / Manheim Township) earned a 6-3, 6-2 win at fourth singles. Gerber won 6-2, 6-2 at fifth singles and Rory Donaldson (East Yorkshire, England / Beverley Grammar School) won 6-1, 7-5 at sixth singles.


No matter our function, we're all entrepreneurs. We're curious and tenacious problem solvers. "In training" emphasizes our culture of learning, feedback, and improvement. "Make Mistakes" encourages risk taking. Failure is a learning opportunity.
Prioritization is critical in a growing, fast-changing business. Rigor and excellence are key for what we choose to prioritize. Proactive planning facilitates autonomy and innovation. Focus allows learnings and iteration to flourish.
When we climb, we work hard towards accomplishing a goal that's often challenging and put us out of our comfort zone. By focusing on the inputs vs the outcome, taking pride in what we do, and honing our craft, we gear towards sustainability. Our goal: have fun day to day - health and balance are crucial.
theme: "Writing Our OWN Story"
theme: "Ampush + You = Success"
theme: "Take Action and Own It"
theme: "Have Fun with It"
Sarah is the founder and CEO of Blueland, a company reimagining everyday products to make it easy to be environmentally responsible. Prior to that, she was a Partner at LAUNCH, creating and operating new consumer businesses including M.Gemi, Rockets of Awesome and Follain. Previously, was co-founder and CEO of Snapette, the largest mobile platform for local fashion shopping, which was sold to leading ecommerce platform PriceGrabber in 2013.
Renata M. Black founded Seven Bar Foundation in 2009 after having studied microfinance under Nobel Peace Prize winner Muhammad Yunus in 2006 and launching a microfinance program in India for over 800 women in 2007. From 2009 to 2012 she created an awareness platform that redirected the power of lingerie to the empowerment of women. This led to her current brand - EBY, empowered by You. Together, with her co-founder Sofia Vergara (Modern Family star), they have over 10,000 monthly subscribers.
Rob Gabel is the Founder and CEO of Tubular Labs, a startup building analytics software to give comprehensive and actionable video intelligence. Prior to Tubular, Rob was SVP of Advertising Performance at Machinima, a leading YouTube network focused on gaming entertainment. Rob has deep roots in online marketing and has held various management positions in his career, including SVP of Marketing for LowerMyBills and VP Marketing for Netflix and Inadco. As one of the first employees at LowerMyBills, Rob helped the company grow from pre-revenue to over $200 million organically before being acquired by Experian in 2005 for nearly $400 million.
Richard is founder and CEO of academia.edu, a platform for academics to share research papers, with the mission to accelerate the world's research. Academics use Academia.edu to share their research, monitor deep analytics around the impact of their research, and track the research of academics they follow. Over 70 million academics have signed up to Academia.edu, adding 21 million papers. Prior to founding Academia.edu, Richard earned his PhD in Philosophy from Oxford University.
Meaghan Rose is the Founder and CEO of Rocksbox, Rocksbox is a fast-growing, venture-backed jewelry eCommerce business building the destination retail brand for jewelry and accessories. Meaghan started Rocksbox by lending pieces from her own personal jewelry collection, and quickly saw a need to simplify the jewelry shopping process. Before Rocksbox, Meaghan was a consultant with McKinsey & Co, and Bain & Co, leading product innovation and social media strategy for some of the largest consumer and retail brands around the world.
Zach Coelius is currently an early stage technology investor and advisor. His notable investments include Cruise Automation (bought by GM for $1B+), Branch Metrics, SkySafe and over two dozen other startups. He is an advisor to twenty companies including Hellosign, Swarm (bought by Integral Ad Sciences), Balanced Payments (Stripe) and many others.
Zach is also four-time entrepreneur. In his last company he was the co-founder and CEO of Triggit, an advertising technology company that was one of the first Demand Side Platforms, where he raised over $25m in venture capital and exited in 2015 to Linkedin and another financial buyer. He ran Triggit from 2005 to 2015, growing it from 4 to 60 employees and over $30m in revenue.
Nick Greenfield - CEO, Candid Co.
Nick is the CEO of Candid Co., a health startup providing direct to consumer clear aligners for 65% less than the cost of going to the orthodontist. He is also currently a partner at Redesign Health, a venture studio that partners with entrepreneurs to identify, launch, and scale new health focused businesses. Prior to that, Nick was the COO of Paribus Co. and worked in user acquisition and business development at Zimride and Lyft.
Selina Tobaccowala is the co-founder and CEO of Gixo, a new, innovative live coaching fitness app designed to bring a healthy lifestyle to everyone, anywhere (no matter where you're starting from).Prior to Gixo, she served as the CTO and then President at Survey Monkey from 2009 to 2016. Under Selina's leadership, Survey Monkey grew rapidly to become the world's dominant survey company online with 16 million surveys processed per day. Before Survey Monkey, Selina co-founded Evite, the pioneering online invitation service, and held senior engineering roles at Ticketmaster, where she oversaw European engineering and product operations.
Sue dropped out of UChicago undergrad to start her first company in the education space, and went on to found Brilliant, a platform to discover and cultivate the mathematical and scientific thinking skills of students, professionals, and hobbyists around the world. As of July 2017, the website has over 4 million registered users and 1.75 million Facebook likes. Brilliant's long-term vision is "to create a more efficient way for ambitious people who are building their skills to be found directly by organizations seeking talent." In 2016, The Atlantic reported that "some of the most recognizable companies in the tech industry regularly prospect" on Brilliant.
Ashwin Pushpala is the founder and CEO of Sano Intelligence, the world's first company to give people continuous and personalized insights into their body chemistry. In 2017, he was named one of Forbes magazine's "30 under 30" for his contributions in health and life sciences. Ashwin was on the founding team of medical device company SinuSys after spending time at Bain Capital, where he invested in technology and semiconductor companies. Inspired by his parents' work in the life science and semiconductor industries, Ashwin received a dual Bachelor's degree in Bioengineering and Economics, and a Master's in Bioengineering, from the University of Pennsylvania.
Chris was previously the founder of Milk, which was acqui-hired by Google in 2012, and then turned Partner at Google Ventures, where he focused on early stage investments. Currently, he is founder and CEO of Grove, where he is focused on making financial advice honest and accessible for everyone.
Nancy Lublin is the CEO of Crisis Text Line, which is a free, 24/7 support for those in crisis. Crisis Text Line trains volunteers to support people in crisis and has processed over 62 million messages to date. Crisis Text Line was born "from the rib" of DoSomething.org, the largest organization for young people and social change, where Nancy also served as CEO from 2003 to 2015. Nancy is also the creator of Dress for Success, which provides women with interview suits and career development training in more than 114 cities in 12 countries.
Payal Kadakia is the Founder and Executive Chairman of ClassPass, a monthly membership program that provides people of all fitness levels access to the best boutique fitness classes and gyms across the US and internationally. Since its launch in 2013, ClassPass has facilitated over 50 million reservations across 9,000+ studios in 50 markets globally. Payal is also the Founder and Artistic Director of The Sa Dance Company, founded in 2009 with the mission to increase awareness of Indian Dance in the mainstream and serve as a platform for expressing the Indian-American identity through movement. Payal previously worked as a consultant at Bain & Company, and holds a degree in Operations Research from MIT. In 2016 Payal was listed in Fortune's 40 under 40 list.
Julie Bornstein was most recently Stitch Fix's Chief Operating Officer, responsible for strategy, marketing, creative, warehouse operations, client service, and the 3,400-person stylist organization. She currently serves on Redfin's board of directors. Julie joined Stitch Fix from Sephora where she served as Chief Marketing Officer & Chief Digital Officer as they quadrupled its e-commerce business. Prior to Sephora, Julie served as Head of E-commerce at Urban Outfitters, where she built its online business. She also led the successful launch of Nordstrom's e-commerce platform, quickly growing the business from $12 million to $350 million.
Auren Hoffman is CEO and Chief Historian of SafeGraph. He is the former CEO and cofounder of LiveRamp (sold to Acxiom) -- the largest middleware provider in marketing technology. He previously served on the board of BrightRoll (acquired by Yahoo). He is the founder of the Dialog Retreat and investor in over 75 active technology companies.
Claire is a co-founder of Closet Collective, a peer-to-peer fashion rental platform. Born and raised in South Africa, Claire started her career in Investment Banking at Bear Sterns, focused on the retail consumer industry. She then moved on to Private Equity, where she managed a $6B book of mortgages. While working in PE, Claire learned that what she truly loves is building companies and working closely with people. Claire then co-founded Closet Collective in 2013, and has been riding the entrepreneurial roller coaster ever since!
All we do is win. Both in the office and on the field.
A monthly forum to have a candid discussion about the company and beyond. Hosted by our co-founders.


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"(The Angels Wanna Wear My) Red Shoes" is a song written and recorded by Elvis Costello for his 1977 debut album My Aim Is True. Written by Costello on a train ride to Liverpool in 1976, the song features lyrics, according to Costello, about "romantic disappointment". The song features Byrds-inspired music with an intro contributed by John McFee of Costello's then-backing band Clover.

"(The Angels Wanna Wear My) Red Shoes" was released as the third single from My Aim Is True. Despite greater exposure than Costello's past singles, the song failed to chart in the UK. The song received positive reception from critics and remains a staple of Costello's live set.

Background
"(The Angels Wanna Wear My) Red Shoes" was written by Costello on a train travelling from London to Liverpool in 1976. Costello reportedly sketched out the song in the final ten minutes of the trip; he later described this sudden inspiration as "startling". Costello recalled,

The Wall Street Journal described the song as "a surrealist tale about an imagined jilting and the appearance of earthbound angels offering the singer immortality—in exchange for his footwear". Costello explained, "I had the essential image, then I worked backward — a dancehall scene with the put-down lines. That kind of framed this other, weirder idea of 'I won't get any older' — I went, 'Why am I saying this when I'm 22? He later said of the lyrics, "The verses were a pretty standard tale of romantic disappointment. Okay, it had a couple of snappy put-down lines, but they were nothing so out of the ordinary". He speculated that the lyric "Oh, I said, 'I'm so happy I could die' / She said, 'Drop dead' then left with another guy" may have been inspired by a "drunken journey home" in 1973.

The opening to the song was created by Clover guitarist John McFee, a member of Costello's backing band for My Aim Is True. Bass player John Ciambotti of Clover reportedly called the song "that one that sounds like the Byrds".

Release and reception
"(The Angels Wanna Wear My) Red Shoes" was recorded a few months after it was written to appear on Costello's 1977 debut album, My Aim Is True. The song was later released as the third single from the album in July 1977. The B-side of the single was "Mystery Dance", another song from My Aim Is True. Preceding singles "Less Than Zero" and "Alison" were unsuccessful, but the popularity of My Aim Is True gave Costello hope for the single; Costello recalled, (The Angels Wanna Wear My) Red Shoes' was my third Stiff Records single to be released. The first two ... had sunk without a trace, but after initially scant sales, all the publicity around the release of My Aim Is True had actually threatened to push 'Red Shoes' into the singles charts". Despite the greater visibility, the single failed to chart.

"(The Angels Wanna Wear My) Red Shoes" received positive reception from music critics. Pitchfork praised the song as "the catchiest pop song on My Aim Is True" while Rolling Stone praised the song's "knowing arrogance". Dave Lifton of Ultimate Classic Rock named the song as the 9th best Elvis Costello song, stating, "Rejection doesn't come more pithy than 'I said 'I'm so happy I could die' / She said, 'Drop dead' then left with another guy. The Daily Telegraphs Martin Chilton named the song Costello's 21st best.

James Honeyman-Scott of the Pretenders cited the song, alongside Nick Lowe's "So It Goes", as one of the inspirations for his jangly guitar sound. He explained, "They had this big, jangly guitar sound, which is what I'd been wanting to get into for a long while. All of a sudden the radio's on and there's this huge guitar sound coming out, like sending out a big Rickenbacker 12-string or something. And I thought, 'Ah, my time is here.' So that's what happened. And then I hooked up with the Pretenders."

In 2011, Costello appeared on Sesame Street to perform a parody of "(The Angels Wanna Wear My) Red Shoes", entitled "(A Monster Went and) Ate My Red 2". In the song, Costello sings with Elmo, who is dressed in Costello's style, in a performance described by Huffington Post as "awesome".

Live performances
"(The Angels Wanna Wear My) Red Shoes" has long been a favorite of Costello's live setlist. Costello performed the song live at solo shows before My Aim Is True was released. Costello performed the song with his new band the Attractions on Top of the Pops, miming to a specifically recorded performance that was "much faster" than the original. Costello notably wore his Musicians' Union card in his breast pocket during the segment.

Costello has since performed the song frequently, including at his set for Woodstock '99.

ReferencesCitationsSources'

Elvis Costello songs
1977 singles
1977 songs
Songs written by Elvis Costello
Song recordings produced by Nick Lowe

redpajama_set_name: RedPajamaWikipedia


text:
"The demise of the Soviet Union was the greatest geopolitical catastrophe of the century," said Russia's new ruler Vladimir Putin in his 2005 state of the nation address. "As for the Russian people," Putin went on, "it became a genuine tragedy. Tens of millions of our fellow citizens and countrymen
Seeing Russia invade Ukraine, historically neutral Finland has undergone a late conversion and decided to join NATO immediately. Why? Because NATO membership means the world's strongest power, the United States, under Article
Last week, sources leaked to The New York Times that, in Ukraine's
Buchanan: Are Biden Democrats Holding a Losing Hand?
"Sometimes nothing is a real cool hand." In the movie classic "Cool
"The demise of the Soviet Union was the greatest geopolitical catastrophe of the century," said Russia's new ruler Vladimir Putin in his 2005 state of the nation address. "As for the Russian
Last week, sources leaked to The New York Times that, in Ukraine's targeting and killing of Russian generals and the sinking of Russia's Black Sea flagship, the Moskva, U.S. intelligence played an
America/Featured BIG Post/International
"Sometimes nothing is a real cool hand." In the movie classic "Cool Hand Luke," the convict Luke, played by Paul Newman, explains that to his fellow inmates after winning the pot in
Buchanan: First Priority — Avoid US War With Russia
Asked if the U.S. should send troops to fight beside the Ukrainians, Sen. Chris Coons, D-Del., said Sunday the time may have come. Russian President Vladimir Putin "will only stop when we
Napolitano: Using War to Assault Freedom
America/Featured BIG Post/History
Most judges and lawyers agree that the war on drugs in the past 50 years has seriously diminished the right to privacy guaranteed by the Fourth Amendment. Now a small group of
Buchanan: Should We Commit to Fight Russia — for Finland?
The prime ministers of Sweden and Finland, Magdalena Andersson and Sanna Marin, both signaled Wednesday that they will likely be applying for membership in NATO. The "prospect" is most "welcome," says The
Buchanan: Message From Ukraine — Nukes Do Deter
When he arrived at Christ the Savior Cathedral to pay his respects to the ultra-nationalist Vladimir Zhirinovsky, who had died of COVID-19, Russian President Vladimir Putin carried a clutch of red roses.
Buchanan: Who Wins, Who Loses Gen. Milley's Long War?
Speaking of the seven-week war in Ukraine ignited by Vladimir Putin, Gen. Mark Milley, chairman of the Joint Chiefs of Staff, is warning us to expect a war that lasts for years.
McPherrin: Sanctions, Climate Policy, ESG, and Energy Dependence
President Biden's latest effort to impose a cordon upon the Russian economy and place pressure upon the Putin regime comes in the form of executive order 14066, which blocks the import of

redpajama_set_name: RedPajamaCommonCrawl


Get started on the graduate student safety certificate today!
Are you a graduate or postdoctoral student? This program will improve your understanding of safe work practices and enhance your employability after graduation.
Already completed some of the courses? Visit the program site to learn how to apply for your certificate.
... skill areas required for completion of the FGSR Individual Development Plan (IDP) .
In addition, completion of the certificate can count towards FGSR professional development hours! Visit the FGSR website for details.
Who should take the certificate program?
The Graduate Student Safety Certificate is designed for graduate and postdoctoral students. Students will learn safe work practices and how to implement them, and will gain an important qualification when pursuing subsequent learning and work opportunities.
The certificate program is free of charge to U of A graduate and postdoctoral students.


In a brief story of her vision, Ruth brings us the case of urban farming as a growing movement to tackle problems that the world faces in the 21st century. Her story is personal. She tells us how her vision evolved from childhood experiences in the Romanian countryside, to her life in Rome, to the mentorships of Zevi and Pellegrin, to her fascination with Wright's thinking and works, to her practice as an architect, to her discovery of Permaculture, to her new passion for urban farming and local edible gardens.
How can urban farming contribute to make the world a better place?
What is the connection between architecture, planning and urban farming?
What can each of us do to become self-reliable on the food we put on our table?
How can edible gardens become a design component integrated to urban development?
How can urban farming provide a stage for social interaction?
The First Agriculture Revolution started about 10,000 years ago. As nomads settled, cities were born. Until about a century ago, they were surrounded by farms, which supplied its population with fresh food.
As the world's population grew from 1.6 billion in 1900 to 7.5 billion today, the way we feed ourselves was transformed radically. Industrialized farming brought us ecological degradation, aggravated by the massive use of toxic chemicals. In addition, the path of food from the farm to the city became dependent on carbon-based fuel for transportation.
As the temperatures will continue to raise, climate change is likely to expand the areas of drought hurricanes and floods, diminishing the existing cultivable areas.
Today's global growth is about 75 million a year. We are likely to reach ten billion around by 2050. Too far away? Not really! That is just "around the corner." By 2050, children born today will be in their thirties.
One acre of land is needed to feed one person for one year. By 2050 we will need additional not-yet-existing cultivable land of about 10 million km2, equal to the size of the United States.
Increase mixed-use urban density along urban corridors.
Create cultivable areas within residential multi-family buildings, office buildings, schools, factories, hotels, etc.
Design common edible gardens as places for social interaction.
Design workspaces that provide edible gardens to its tenants.
Plan neighborhoods that include collective cultivable areas.
No single solution can fit all needs. The use of eco-friendly lightweight hydroponic systems that consume 90% less water than traditional farming can be incorporated into the built environment.
On the other hand, permaculture, first developed by Bill Mollison and David Holmgren, brings a holistic approach that combines agricultural and social design principles. By increasing our awareness of "thinking globally and acting locally," each of us can contribute to make the world a better place to inhabit.


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"The most technically accurate sailing simulator
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The sailing simulator has been developed by a small team with experience in e-learning, sailing and software development. Our goal is to provide high quality simulation based learning and entertainment.
Chris has a background in elearning and over 20 years of software development and marketing experience in the UK and US. Chris started the health & safety elearning and risk management company Cardinus and sold it to THB Group in 2007. Cardinus provides e-learning used by thousands of organisations across the globe to reduce accidents and injury, increase employee productivity and comply with legislation.
Chris began sailing around 2010, taking family sailing holidays each year in Greece and Turkey. When he found that he was forgetting so much in between charters he looked around at sailing simulators to refresh his knowledge, but was dissapointed that those available focussed entirely on racing, and didn't really help with real life skills.
So Chris returned to his roots and began coding. Three years later eSail was launched on Steam.
Keith Colwell
Keith is the author of the internationally-published RYA Sea Survival Handbook and the RYA Boat Safety Handbook and continues to write for PBO magazine as their sea safety correspondent.
Keith trained as a naval architect at Southampton and Sunderland Colleges in the late 1970s. Following a couple of years as a development engineer for a small workboat builder, he was offered the role of Technical Reporter on the magazine Motor Boat and Yachting, before moving on to become Technical Editor (Power) and then Deputy Editor of Practical Boat Owner (PBO) magazine and finally Development Editor of Sailing Today.
After a 22-year career as a staff boating journalist testing boats and equipment, Keith made a career change and joined the Royal National Lifeboat Institution (RNLI) as a Sea Safety Manager. During his 15 years with the RNLI, Keith trained and managed RNLI Sea Safety and Community Safety volunteers to give advice to yachtsmen, boat users and the general public on how to stay safe when on or by the water. He became a RYA sea survival, powerboat and marine vhf radio instructor/assessor in 2004, while working for the RNLI, and currently works as a freelance instructor.
Theo Stocker
Having caught the bug for yacht cruising as a teenager on the rivers of the East Coast, Theo has since explored far and wide under sail – north to the Lofoten Islands, south to Morocco, the Gambia and Senegal, east to the Baltic and the Mediterranean and west to the Caribbean. He sailed the family Hallberg Rassy 31 for a number of years, but is now the proud owner of a Sadler 29, kept on the Lymington river, from where he and his wife Georgie cruise both sides of the English Channel.
After stints in the Royal Navy and in public relations in the City, Theo combined the best of both worlds and began writing for Yachting Monthly as a freelance contributor. He joined the team in 2014 and has been editing the magazine since 2017.
Jon Dobbin
Jon started dinghy sailing in Plymouth and Falmouth Harbours at school, then cruising and racing in the Solent at college.
For for several years Jon worked in cancer research then ran a unit studying stroke and brain injuries, and began sailing with the Ocean Youth Trust. At this time he was also instructing cruising and racing and delivering Halberg Rassey, Nijad, and Sweden yachts from Sweden and qualified as Yachtmaster Ocean.
He later started a successful project management and tuition business primarily with Northshore Yachtyards and qualified as a Yachtmaster instructor.
Jon is currently involved in providing sailing tuition and supporting the Ocean Youth Trust.
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Brown Pusey House Community Center – this was one the Brown Pusey House converted into a lavish community center where you will find activity halls, conference areas and venues for different community activities. This is a historical home built by John Y. Hill.
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Freeman Lake – this is lakefront park where you will find a lot of wonderful activities including hiking, walking, fishing, boating and picnicking. You will also find a tennis court here.
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Death Stranding Review
Kojima unleashed
November 1st, 2019 by Kyle Hanson
Few games launch with as much anticipation and confusion surrounding them as Death Stranding. The title comes from one of gaming's most celebrated creators, Hideo Kojima. But it also represents a big change for him, coming from his brand new studio and shifting away from the iconic Metal Gear Solid series. Would this mean a better game, or would it delve too deeply into the elements that started to turn some players away from his previous work. In the end, it's a bit of both, but what we certainly have with Death Stranding is a bold, almost experimental release with all the polish and attention to detail of a AAA, Kojima directed game. Beneath that veneer though is a story that struggles to come together as well as it could or should. Feeling like an unfinished puzzle at times, though the pieces that do fit together are quite beautiful on their own.
Describing the plot of Death Stranding often diminishes it in some ways, as many players will find the further they get into the main story. If you've watched all the released trailers and footage, no doubt you have pieced together the basics in your own head. A massive, world changing event has occurred resulting in a sort of merging of the worlds of the living and the dead. Every death now carries with it a threat to anyone nearby, with humans essentially becoming a nuclear bomb hours after they pass. A side effect of this is Timefall, where rain falls from the sky, rapidly aging anything it touches. And with Timefall come BTs, spectral entities who linger on Earth, trying to kill anything they can touch, leading to even more chaos, fear, and confusion.
To combat this, human society has fractured, splitting apart into fortified cities or smaller settlements out in the wilds. Surrounding themselves with walls and borders, humans are no longer connected to each other as they were before, which is exactly what you'll be trying to change. As Sam Porter you will deliver packages, but more importantly you'll be rebuilding America by connecting people back up through the Chiral Network. This connection not only solidifies personal bonds, but also expands Sam and the player's reach, growing your stable of safe havens and helpful contributors amidst the chaos and danger of the post-Death Stranding world. But does this Chiral Network hold the key to mankind's salvation, or will it simply hasten its doom?
These are just the basics of Death Stranding's long and sometimes meandering story. Stretching over a campaign that will easily take around 40 hours to complete even without side content, the plot spirals into multiple directions from there. This often delivers truly touching and emotionally charged story content, such as the deeper dives into Sam's helpful side characters, especially Mama, Fragile, and the Mysterious Man. All are played by some of Hollywood's biggest actors with the best character designs in practically any video game. Other times, however, it strays closer to the more extreme and slightly unintelligible elements of Kojima's later Metal Gear games.
Death Stranding enmeshes its story with its gameplay more than most other games
That's not to say the story doesn't make sense, it does. It is just structured in ways that leave the player wondering what exactly is going on at most times. Character's names and their relationships are muddied in an intentional fashion. And while this works for the first few chapters, eventually you start to wonder how much more impactful the plot would be if you had a firmer grasp on what was going on in the deeper aspects of the narrative. You are often fed this information eventually, but it arrives after moments that would have landed harder and with more emotional heft had you known the details earlier. Foreshadowing and cryptic plots work well, but Death Stranding takes it to an extreme that harms the overall goal, which is to make you feel its many messages at your core.
To its great credit, Death Stranding enmeshes its story with its gameplay more than most other games, which often helps to overcome this fault. The story is about the struggle to connect humans to each other, conquering their fears and fighting against the forces that seek to divide us. Similarly the gameplay will task players with many things that they'll find difficult or frustrating. At its core, this is an adventure game, with Sam questing across the entire country, now dubbed the United Cities of America. On that journey you're most common task will simply be to get whatever cargo you're carrying from point A to point B. A fetch quest if you will, but somehow Death Stranding pulls off the miracle of making these seemingly simple and mundane tasks feel weighty and enjoyable.
Each mission typically boils down to picking up cargo at one of the "Knot Cities", distribution centers, or shelters then trekking across vast stretches of land to deliver it. To accomplish this you have many tools at your disposal, such as ladders, ropes, vehicles, or buildable structures. Along the way you'll almost always find BT infested areas, rogue humans seeking to steal your precious cargo, or some lost items/supplies you can drop off along the way. Those first two are where Death Stranding shifts to a more typical game experience; featuring tense moments of stealth or even full blown combat, though this is rarely the focus. What the gameplay does put a heavy emphasis on is inventory and weight management, along with maintaining Sam and his BB's health and well being, with various systems in place to handle it all.
Combat, even in the cinematic and spectacular boss battles, typically boils down to standard run and gun action with rare encounters feeling like a true challenge. Stealth works a fair bit better, utilizing the BB, a baby that connects Sam to the "other side", to point out danger for you to avoid. During these moments you'll expend health and stamina, as well as cause stress for BB. Managing all of this is simple and easy, but takes a lot of time often unnecessarily. For example, resting at a Safe Haven, something you do quite often, forces players to watch or skip through multiple cutscenes that will become repetitive very quickly. Everything from inventory management to health systems are well designed given how much there is to keep in check, though the many screens and mechanics can be overwhelming through the first few chapters.
On paper, Death Stranding's gameplay sounds extremely dull and frustrating, and indeed it can start to feel that way at times. However, this is actually the goal more often than not, with the game using its gameplay mechanics to drive home its message of connection and how important it is to work together for the greater good. The element that hammers this home the most is the online mechanic, which isn't full multiplayer, but still impacts the game in huge ways. Throughout your time journeying around the world of Death Stranding you can build structures to make these trips easier. Is there a river in your way? Build a bridge. Keep running out of battery halfway to one location? Build a generator. And in building those things you not only help yourself but your fellow players as well. This is where Death Stranding truly hits its stride.
As you connect more areas of the world to the Chiral Network, behind the scenes you're also connecting it to our own internet. Each time a new area goes live it will be flooded with objects, messages, supplies, and lost packages from other players. What this means in terms of the gameplay is that everything just got a lot easier. Areas that used to be nearly impassable become simple thanks to another player's bridge, ladder, or shelter. Signs start to show up that hint at potential dangers or areas full of resources. Through connecting the fictional characters you've also connected yourself to your fellow real-life human beings.
This may seem simple, and indeed it's an option some players may just turn off without even thinking about it. And yet, it is Death Stranding's biggest achievement. The game is telling players through both its literal plot and the gameplay that connecting with others is important, that it makes your life and the lives of those around you richer and more enjoyable. And this works so well that many players will find themselves simply working toward the goal of earning more "Likes" which players can reward to each other for providing some piece of equipment or assistance. Did you find that mountain particularly tough to traverse? Build a zip-line network across it and not only will you benefit, but every other player you connect with through Death Stranding's online element will as well.
The game looks and feels great even as it frustrates you
But while the ethereal elements work to push the underlying narrative, the story itself doesn't fully come together in the end. As I described it, it felt like a puzzle was being put together in front of me. Sometimes large chunks would fit together perfectly and hint at the greater whole, but that whole never developed in a satisfying way, even after the game dumps its major plot details on you through longer cutscenes and exposition. It relies so much on technobabble that doesn't touch onto the larger themes that it results in more frustration at how a similar story could have been conveyed than it does genuine surprise and emotion. There are great moments within, but the whole is less than the sum of its parts, unfortunately.
Given how much the gameplay presents players with typically frustrating mechanics in service of this plot, you would think its partial failure would create an overall negative feeling about the game as a whole. However, thanks to the exceptional work on the underlying systems and presentation elements, the game looks and feels great even as it frustrates you. The simple act of climbing a mountain may take a lot of time as you struggle to maintain your balance, fend off BTs, and work to secure supplies, but once you clear it it leads to a true joy like few other games can deliver. And everything simply looks and sounds glorious with some of the best graphics out there, and a soundtrack that many will download and keep on a perpetual loop.
Even without the story or any set mission, the world itself is worthy of exploration. Every new area looks simply amazing, and features hidden secrets that are worth discovering. The old adage of "do you see that mountain? You can climb that mountain" is 100% true for Death Stranding, and the game benefits greatly from it. It has that wonderful quality of simply getting lost in the world, wasting time exploring some new area or stumbling across a side quest that you otherwise would have missed. Players could dedicate dozens of hours to this without being upset or feeling like they missed out on much, though that's only if the core mechanics gel with your particular taste.
And of course, being a Kojima game, there are so many moments of pure fun and meta humor that the game never truly feels like it takes itself too seriously. Sure, there's an important message at its core, but you can also just go around peeing on everything and ignoring the plot entirely, if you want. That is likely what will happen to a majority of players, with huge sections of the game devoted to building up and improving sections of the map. If you stop here, the story will be incomplete, but the game will continue to surprise and delight you with its amazingly complex mechanics and intense attention to detail. And with the online elements, players will always have new things to work on or interact with.
Death Stranding is equal parts amazing and exasperating. It features stellar acting, graphics, and sound. It's a revelation in many of its gameplay mechanics, while also relying on typically frustrating things like fetch quests and inventory management. And it's a game that is laser focused on conveying a message both in its story and gameplay. But the story lacks the punch it could have had, if it had been structured in a way that leaned into those moments, rather than obfuscating them. What it does without exception though is meld the gameplay with the message, creating something truly unique in the end. If you can work through its frustrating parts and look past its plot failings, there's something wonderful here, but many will come away disappointed if their expectations aren't in check.
- This article was updated on November 1st, 2019
Death Stranding PS4
Attack of the Fanboy / GAME REVIEWS / Death Stranding Review
"liked"
Available On: PS4
Published By: Sony Interactive Entertainment
Developed By: Kojima Productions
US Release Date: November 8th, 2019
Quote: "Death Stranding is equal parts amazing and exasperating."
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