text:
// Copyright (C) 2022 Fievus
//
// This software may be modified and distributed under the terms
// of the MIT license.  See the LICENSE file for details.
using Windows.UI;
using Carna.Runner.Step;
using Microsoft.UI;
using Microsoft.UI.Xaml;
using Microsoft.UI.Xaml.Data;
using Microsoft.UI.Xaml.Media;

namespace Carna.WinUIRunner.Converters;

/// <summary>
/// Provides the appropriate brush for the fixture step status.
/// </summary>
public class FixtureStepStatusToBrushConverter : IValueConverter
{
    /// <summary>
    /// Returns the appropriate brush for the fixture step status.
    /// </summary>
    /// <param name="value">The source data being passed to the target.</param>
    /// <param name="targetType">The type of data expected by the target dependency property.</param>
    /// <param name="parameter">An optional parameter to be used in the converter logic.</param>
    /// <param name="language">The culture of the conversion.</param>
    /// <returns>The appropriate brush for the fixture step status.</returns>
    public object Convert(object? value, Type? targetType, object? parameter, string? language)
        => (FixtureStepStatus?)value switch
        {
            FixtureStepStatus.Ready => new SolidColorBrush(Colors.Gray),
            FixtureStepStatus.Running => new SolidColorBrush((Color)Application.Current.Resources["SystemAccentColor"]),
            FixtureStepStatus.Passed => new SolidColorBrush(Colors.Lime),
            FixtureStepStatus.Failed => new SolidColorBrush(Colors.Red),
            FixtureStepStatus.Pending => new SolidColorBrush(Colors.Yellow),
            FixtureStepStatus.None => new SolidColorBrush(Colors.Yellow),
            _ => new SolidColorBrush(Colors.Black)
        };

    object IValueConverter.ConvertBack(object? value, Type? targetType, object? parameter, string? language)
        => throw new NotSupportedException();
}

redpajama_set_name: RedPajamaGithub


text:
You are here: Home / More News Left / Halifax Special Town Meeting set for Jan. 4
Halifax Special Town Meeting set for Jan. 4
December 11, 2015 By Abram Neal, Express Correspondent
Halifax Special Town Meeting set for Jan. 4, Burrage Pond access road continues to cause ongoing frustration
Halifax Selectmen met Tuesday, Dec. 8, and set a date for a Special Town Meeting, discussed the access road from Elm Street to the Burrage Pond Wildlife Management Area with Christopher and Thais Kasmarek, and held a dog hearing.
Another STM for Halifax
A Special Town Meeting has been set for Monday, January 4 in the multi-purpose room of the Halifax Elementary School, 464 Plymouth Street at 7:30 p.m.
Three articles are on the warrant:
The first would authorize the Council on Aging to continue funding their current plans to renovate Pope's Tavern Senior Center, which according to Director Barbara Brenton, the Council has been outgrowing for years.
The second article would ask the voters to authorize ambulance fees to be set by the Board of Selectmen, rather than at Town Meeting. This is part of Fire Chief Jason Viveiros' plans to bring the fee structure the department charges for ambulance calls more in line with neighboring departments. Halifax is currently under-charging, according to Viveiros and the Fire Study Committee.
The third article would ask the voters to simply raise the ambulance fees, should the second article not pass.
If voters choose this option, Town Meeting would still have the power to vote on ambulance fees as they currently do, but this article would raise them to the proposed new level suggested by the Fire Chief.
Access to Burrage Pond from Elm Street
Christopher and Thais Kasmerek came before the Board to discuss issues surrounding the Burrage Pond Wildlife Management Area, now owned by the state, and ongoing issues surrounding the only access road to the site in Halifax.
A controversial purchase in 2002 by the Division of Fisheries and Wildlife saw approximately 1,600 acres of land in Hanson and Halifax transferred from the Northland Cranberry Company to the Commonwealth.
The intention is to use the land as a conservation area.
The Kasmereks abut what was believed to be an access road off of Elm Street owned by the State. It turns out that due to a surveying error, the Kasmereks own a good portion of the access road, and have since closed it off, blocking public access to the State-owned portion.
The Kasmereks said that they often invite people to park on the street or their own property to allow people to enjoy the area, but are fearful of any action that the Town or State might take to open up access again.
The Division of Fisheries and Wildlife wants to build a parking lot and some sort of buffer for the Kasmereks, but they object. When the DFW took over the property, they claim that there was an uptick in "bad-behavior" behind their property, with people coming and going at all times of day and night and leaving behind beer cans, glass, needles and dog refuse.
"You have to live it, you just have to live it," Christopher Kasmerek frequently said throughout the lengthy exchange with selectmen, but remained composed but visibly frustrated. Although he never raised his voice, his controlled anger was evident.
The couple asserts that the "bad-behavior" hasn't completely stopped, even now that it is not physically possible to access the road by car. They said that people simply park on the street at night and walk back, leaving them to police, "everything that goes on back there."
Policing of the property is now under the jurisdiction of the Environmental Police, who appear to not have the resources to cover this property. There is some dispute between the Town and the Kasmereks over the number of times the Halifax police have been called for issues at the property, but the Kasmereks did not debate the topic, stating that there were times that they were possibly referred to the Environmental Police. They claim to frequently call the police.
Selectmen Chairman Kim Roy pushed for compromise, stating that things could get worse; the DFW could act on its own simply going around the Kasmerek's property through state-owned land adjacent to the current road, joining the section of the road that they own to the street and then building the same parking lot previously proposed.
"We have to solve this," Roy said.
Selectman Thomas Millias expressed his deep distrust of the Division of Fisheries and Wildlife and also pushed for a compromise. The Town will continue to work with the couple and the DFW to find a solution that works for everyone.
Mr. Kasmerek apologized to the Board on the way out, shaking each Selectman's hand. He was assured that there was no reason to apologize and the Board would keep them up-to-date on the situation
Dog Hearing
A familiar face around Town Hall, Finance Committee member Nikki Newton appeared before the Board for a different reason: a dog hearing.
Selectman Garron made the same comment he makes at almost every dog hearing, "This isn't a dog hearing, it's a people hearing,." Garron, a professed animal lover, takes the hearings seriously.
Animal Control Officer Noreen Callahan, in her police blue "Halifax ACO" jacket testified that Newton's dog, while at a dog training facility in Hanson, had bitten a 20-year-old, inexperienced handler. The dog trainer had no problem accepting the dog back, and felt that it was an isolated incident. Newton agreed, as did Callahan.
"Sounds innocent enough," said Millias.
The Board decided to take no action under the rationale that they usually encourage residents at dog hearings to get their dog professionally trained after an incident, but this incident happened with a dog trainer.
Filed Under: More News Left, News

redpajama_set_name: RedPajamaCommonCrawl


"An amaryllis adorns her desk. The beautiful, open flower is pink. Shocking pink. Vibrant pink… I want the pink flowers for myself.
Part memoir, part scientific manual, part spiritual guide, Dreams and the Wisdom Within weaves a compelling narrative of the healing, transformative power of dreams. Drawing on decades as a journalist and her personal experience with dreams, Joyce Lynn offers a three-step healing blueprint and envisions a future of health care with dreams at the core.
Dreams and the Wisdom Within empowers women, those most often disenfranchised by traditional medicine, custom, and mores.
From primitive times through the healing temples of early Greece and the holy books of the Near East to the Age of Enlightenment when reason trumped spirituality, dreams held prominence in thriving civilizations. Historic events in the evolution of consciousness suppressed the viability of dreams, limiting their influence for generations.
Joyce revives dreams as a mandatory modality in our daily lives. The stories she tells extract dreams from the confines of religion, psychotherapy, and New Age customs, making dreams, studded amulets of ancient cultures, fashionable once again.
To place an order, email Info@PlumDreamsMedia.com or call 415-267-7620.
To book an appearance, presentation, or event on the power of dreams with Joyce, email info@PlumDreamsMedia.com or call 415-267-7620.


Must be an active SRC student.
"SRC" should be incorporated in your pumpkin carving. If helpful, a template of the logo is available below. Be creative, but professional (we reserve the right to disqualify you for inappropriate content).
Follow and post a picture of your carved pumpkin on Twitter @srcorg #srcPumpkinChallenge. In 160 characters or less, tell us why you love SRC research!
Contest runs Oct 10-28, 2018. Tweets after Oct 28th end of day will not be considered.
SRC judges photo and blurb.
Number of likes and retweets your photo receives. The faster you post your pumpkin pic, the more you increase your chances to win!
You can't spell reSeaRCh without SRC!
Click here to download SRC logo template.


Download the first track of the coming Coulisses album for free!
The track is the first to result after the extensive recording sessions that took place during August and September at The Pool Studio in London, a very high-end establishment which has housed the likes of Patrick Wolf, The Horrors, Iron And Wine and many more.
The as of yet untitled solo album, slated for release in spring 2012, presents Per-Erik expressing a more bare-boned, naked, sound, especially when compared to his day-job with psych/post-rockers Isobel & November.
Bearded baritone Per-Erik Söderberg is currently rehearsing for the recording of a solo album, slated for release in early November 2011.
A more bare-boned, naked, sound is to be expected, especially when compared to his day-job with psych/post-rockers Isobel & November.
The songs to be released under the moniker of Coulisses have actually been in the making since as far back as 2002. Back then the idea was to write instrumental songs inspired by European and American folk music as well as movie soundtracks. Some of this is still an inspiration, but in its current state Coulisses has grown into a vehicle of Per-Erik Söderberg's inner self, with his trademark vocals and lyrics leading the way.
Extensive recording sessions will be taking place during August and September at The Pool Studio in London, a very high-end establishment which has housed the likes of Patrick Wolf, The Horrors, Iron And Wine and many more. Producer Mattias Beijmo has made a mission statement that one goal of the recording is to "make an album that will arouse PJ Harvey".
Although planning to go all out with this solo project, Per-Erik states that Isobel & November still has the same priority and that Coulisses is to be seen as a supplement rather than a substitute to his expression in the band.
More information, details and sounds will be issued soon.


Has life become too cheap?
What do people really mean when they say they believe in God?
On line heart test - any members tried this ?
Has the Right just blown off two big toes?
Which is more poisonous - Novichok or poisonous Government propaganda?
Do Not Die, becoming even more expensive. !!!


If you want to start changing things begin with the medical and psychiatric community.
Over forty years ago designers and engineers discovered a problem that could cause metal breaks for office workers. Instead of evaluating what it is that causes them the medical community deny the problem exists.
The Virginia Tech, Redlake School, Jokela Finland school, and Atlanta Day Trader shooters all created the problem.
VisionAndPsychosis.Net has pages with examples and explanations of the phenomenon.
Nowadays, we experience different crimes and tragedies and whether we find ways to be safe, we really cannot avoid these kinds of circumstances. In my hometown in Oakland, there are cases reported of different crimes that's why victims of these crimes run to an accident lawyer (Oakland area) or our neighboring town of Bay Area, injury attorneys are the persons that they always count on to help them solve their cases.
It's amazing to me how many people are in denial about the convergence of forces that allowed this to happen in Tucson: lack of mental health services in Arizona, lax gun laws (including Constitutional Carry), and fiery hate rhetoric. Now our intelligent, moderate Congresswoman fights for her life.


text:
The Freestylers
December 16, 2004 FunkyJ	Leave a comment
The Freestylers have been rocking dancefloors for years, but just lately they have absolutely blown up with their tune Push Up. It's topped the Aussie music charts, is frequently heard on commercial radio and in television advertisements, and has been ruined by that William Hung wannabe, Australian Idols' Flick. The success of their follow up Get A Life is evidence of their skills and talents, proving they're not just as flash in the pan as they've also got two previous albums which have sold over 350,000 copies, and a string of remixes to their credit. They've been DJing for the last 10 or so years and I spoke to Matt Cantor earlier in the year just as Push Up was released. Speaking to the other half of the duo, Aston Harvey recently, I asked what kind of impact the success of Push Up and the album Raw As Fuck had made on them.
"It's hard to take in because obviously we live on the other side of the world, and we only get told "Push Up is this number or that number'", Harvey begins. "I get texts from friends in Australia saying 'you don't understand, your record is massive over here'. It's a brilliant feeling, and sometimes its quite good when you don't live in these countries and you're getting this massive positive feedback. We didn't set out to make a record that crossed over so big… You just make a record, and know that you like it, and put it out there. With the Freestylers, we've had record companies take this single and that single and do what ever with it, but this is the first time we've had one single do pretty well across the board."
"We weren't even thinking of making an album, when we decided to make Raw As Fuck. We just had done a load of tracks and put them together. Push Up went in the charts in England, but because we're so dominated by house music and the money process, we didn't get too high, but it put us back on the map in the UK. It's been doing well in Europe, and I've just found out in South Africa we've got a Number 1 record!" he exclaims with a laugh. "You can't really magically do another Push Up, but there will be something along those lines. Mat and I aren't getting any younger, so there might be a track similar, try and get a pension going!" he laughs. "Not saying it's going to be cheesy," he quickly adds, "I think the reason why Push Up has done so well is it sounds like a commercial record, but it also sounds like a really cool record – it sounds well produced. It doesn't sound like an amateurish pop act just out to make money."
Whilst we missed the last DJ tour back over the Easter long weekend, the Freestylers band will be making it to Adelaide for the Big Day Out. "The band involves 6 people on stage, an MC and a singer, bass player, guitarist, drummer and me on keyboards, scratching and sampling. The MC is Surreal, who's not on the album but has been with the band since the start of the year, and the other vocalist is Valerie M, she's touring with Groove Armada at the moment, she moonlights between us," he chuckles. "She sang one song on our second album (Told You So). And I'm hoping a girl called Julie Thompson, who does sing on the album (Too Far, Losing You), she plays guitar and I want to experiment a little with that, to see what happens."
"I find having a band takes us to another level," Harvey goes on to explain. "It's really expensive to get a band together to travel, etc… It's not like we've been five mates who've been playing since high school who split the profits or whatever. I have to pay all these different musicians to perform. And then there's all the waiting around all day – sound checks and all that. As compared to DJing – just turn up with a box of records, you can be a bit drunk and that, it's completely different. But I love doing both!" he exclaims. "Matt doesn't do anything in the band… well, he and I were doing the same thing, and he decided he doesn't really like touring with the band. Yet It's worked out for the better, because it's quite good to go away and come back fresher. Going away, getting ideas on the road."
Like all Englishmen, Harvey loves Australian weather. "It's looking a bit cold and drab here in the UK at the moment," he laughs. "I've only ever played in Adelaide once, and we played in this really weird kind of club, it felt like a school hall," he chuckles. He's talking about the old Skylab, above Minke, about a gig that happened 3 or so years ago, and it was a mad night of Adelaide's typical small but up for it crowd. "I'm sure we'll go down pretty well!" For those who can't wait to see them live can pick up Raw As Fuck with a limited Remix CD featuring mixes by Ronnie Size and Krafty Kuts amongst others, as well as pick up the Fabric Live 19 Mix CD featuring Surreal MC.
2004Aston HarveybreaksFreestylersRaw As FuckUK
Z-Trip
November 29, 2004 FunkyJ	Leave a comment
You can hear the frustration in Zach Sciacca's (otherwise known as Z-Trip) voice as he talks about copyright laws. Known for the incredible Uneasy Listening Vol 1 mix CD, done in collaboration with DJ P, this master of the mash and blend has become a pin up boy for the fight against the incredibly archaic copyright laws which has seen him get caught up for nearly a year trying to get tracks for a mix CD cleared. This is not about getting samples cleared – this is about getting clearance for mixing two songs together. It's like being told you can't play two certain songs together on the radio.
"The whole concept of having to clear something is limiting", Sciacca explains. "If you want to put out something legitimate, something that you can sell and people can buy, it's hard. I'm an advocate of people doing it on their own, doing it independently and getting it out, because that's the most important thing – getting it out there. It's such a shame that it's like that," he pauses. "There's no way to make an album like the Beastie Boys Paul's Boutique for instance. That album, financially, could never be made. You couldn't sample The Beatles – and they did – but people weren't aware of it then. Now there's sample clearance house business set up and you have to go that route."
"Most of the stuff I've done until about now has been under the radar," and this includes Uneasy Listening Vol 1, an amazing mix of 80s rock and electro. "People come to my shows, they tape it and put it on the internet, because people want it. That's the funny thing, there's such a demand for it that industry people should be more willing to allow things to be cleared. There's money to be made if they want to make money from it." The resistance comes from the record companies and their profiteering. In an article on DownhillBattle.org Sciacca states, "The industry is so old school in thinking, most can't wrap their head around the concept of a work A and a work B coming together to form work C." "I think artists are slowly getting into it," he tells me. "At first they were a bit reluctant, but it's starting to rise to the surface, become such a mainstream thing, that people are going to want to do that kind of thing. I did get to meet Barry de Vorzon, the guy who did the Warriors theme song," which is on Uneasy Listening. "I met up with him, played it to him and he really dug it. At some point I would like to sit down and maybe collaborate with him."
Sciacca has also collaborated with Del Tha Funky Homosapien in the past, and is collaborating with Lyrics Born on his debut album, due out next year. "Going through the route of trying to clear everything just takes forever, and I ran into a lot of stop signs from people who just didn't get it, didn't want me to use their stuff, so I had to a different route, and that was to produce an album rather than make one using other people's music," Sciacca says of the work he's doing. "I don't want to give too much up because I'm saving that for a surprise, but there's some people I had to really search out to find, and some that were good friends. It's a good thing though, it was a good process and I'm really happy with the way it's turned out."
But Sciacca is first and foremost a DJ. "I'm a DJ and playing to a crowd is my biggest pay off and also my biggest thrill. It's what I enjoy the most and how I built my career and reputation," he says proudly. "I don't really worry too much about record sales or things of that nature yet, I guess I will when I put the record out, but my biggest concern is that more people come to the shows, and maybe buy a T-shirt or something, because that's money I will see directly, versus going through the channels of me putting something out and the money gets spread out to all the people I've sampled, and then the record label, and at the end of the day I might get one or two cents".
Sciacca will be hitting Australia for the first time next week, and thanks to Traffic we will get to see him perform in Adelaide alongside the Life Savas. Having downloaded a few of his DJ sets from djztrip.com, expect the unexpected from his performance. "It's very dance floor based, I'll be trying to rock the party. I like to be different from any other DJ you've heard, I pride myself on that. 98% of what I do is on vinyl, I do a few things off CD, but most of the blends and mashups I do are on vinyl," he states, and having heard those blend I simply cannot wait to see him do it live.
Not only does he allow his sets to be downloaded for free, Sciacca is an active member of his forums, answering questions and giving his opinion on mixes and music in general. "The website isn't really a big deal in so much as putting photos and such up", he explains. "My main concern was to have a community where people could ask me stuff and I could interact with them. Sometimes it's hard to speak to a fan or to someone who's at a show when you're packing up or just about ready to go on, so if I can answer things at my leisure, you know at 4 o'clock in the morning in my underwear, you know?" he laughs.
2004hiphopmashupturntablismUSAZ-TripZach Sciacca
Lee Coombs
Lee Coombs is a quiet, unassuming, almost shy person to talk to. He doesn't mince words and dribble on, which in some ways makes interviewing him rather difficult. I spoke to him the day after his birthday, and he told me he didn't do anything big because he's been too busy. Instead he just had a "quiet one".
His debut artist album Breakfast of Champions is all but quiet, and given the popularity of tunes such as Push Up by the Freestylers here in Australia, I will not be surprised in the slightest if it does exceedingly well here. Being extremely dancefloor friendly, it's full of fantastic tunes that transcend genres. It also features collaborations with some of the breaks scene's biggest stars, including Andy Gardner of the Plump DJs, Jem Panufnik from Soul Of Man, Christian J and Dylan Rhymes. "It's named after a party in San Francisco run by the Space Cowboys," Coombs says of the title, after I suggested it could be based on Roald Dahl's book. "It's a New Years Day afterhours party that happens once a year," he goes on to explain. "It's just brilliant, one of the best gigs I've done, and they've made me part of the crew, and I thought I'd name my album after it. It gives props to them."
"Collaboration is always 50/50 with me, but if I'm in my studio I'm the one working the kit," Coombs states. "Everyone was great to work with. They're all friends of mine, we all DJ together and love each other's production work. The reason I choose to work with them is because I knew it was going to be great, and it panned out nicely." The remixes Coombs has included on the album "are bonus tracks really, just to add a bit of spice" Coombs states. "No one's heard the Oakenfold remix before, and I thought I'd be nice to put that on there". Plus Oakenfold gave Coombs a big break by letting him do the critically acclaimed Perfecto Breaks album in 2002, and is no doubt once again Coombs giving 'props'. "The New Order is a bit of a favourite of mine, a bit of an anthem, and it was nice to go over it again. I think my production has gotten a lot better since I made the original, which I made four or five years ago now. It's just a bit of a treat for people." The blend of genres is subtle and understated, but each track sounds perfect both in itself and in the sequence of tracks. "It's music I absolutely love, that's why it's all in there. I can't make music unless I'm really into it. Really feeling the electro vibe at the moment."
When not working on the album, Coombs has been really busy touring the world DJing. "I've been touring all over the world basically, just got back form Hong Kong and China. It's quite an experience over there!" he enthuses. "The music is new over there. The scene of "breakbeat" doesn't exist as such, but it's what they all seem to want to dance to, as though it's a natural thing. It's the first time they've had the opportunity to have clubs and international DJs and breaks seems to be what they want to go off too. It's great!" He compares it to Australia a few years ago. "Yeah, it's a little bit like Australia, but they're into the more electro sounding stuff, not so much into party breaks."
Not content with just touring or DJing, Coombs wants to concentrate more on his record label Thrust Recordings. "It took a back seat when I finished the album off, but now I'm getting back into it. I've got strong releases lined up. It's something I really want to be pushing in the future," he says. "I'm pretty much doing everything, apart from you know, the real office type work, but all of the A&R, all of the coordinating of the artwork and press releases, all of that. The next release is a re-release of one of my old tracks called "Oscar Goldman – Thrust 2". It should be out in December," just in time for Christmas!
I recently heard that Coombs was interested in opening his own club back in England, or possibly San Francisco. "That would be nice, but I don't remember saying that!" he laughs as I explain I read it on a Polish music scene website. "I'd love to have my own club and control the music for a night, make what I do really work as an event. It would be nice to get people to come because they like it on a weekly or monthly basis."
2004Breakfast of ChampionsbreaksLee CoombsUK
October 29, 2004 FunkyJ	Leave a comment
It was perfect summers day when DJ Tayo, the head of Mob Records, also known as "Dread at the controls" after his successful KISS FM radio show, and one of the leading new school breaks DJs last played Adelaide. With his biggest crowd he rocked the Beach Party in Semaphore with an incredible blend of hard breaks and funky melodies, infused with a dub mentality. "It was the first time I did a good show in Adelaide," he states truthfully. "It's always been hard work in Adelaide, the breaks scene has always been a little slow, but Blake's (promoter of traffic nightclub) stuck by it, and he's kind of made it happen a bit." In that time we've had but a few new school breaks DJs visit our shores, much to my chagrin.
Now following up his new album, Beats & Bobz vol 3 Tayo is set to make a much welcome return to Adelaide in the new year, and I hoped that he hadn't gone the progressive route of many of his contemporaries such as DJ Hyper. "Ewww… it is not progressive… ewww!" Tayo laughs, discussing his new album. "It's definitely harder, it's got it's own type of flavour as it's very dub orientated. It's got a few of my own productions; two with Acid Rockers, and it's got people like ed209 and Sons of Mecha. It may surprise a few people as I've never had that stuff on compilations before, but that's kind of where my head has evolved to. Doing a compilation is a way to stick your head out and say here's where I am at now."
Tayo has stepped down from the "label boss" position in recent times in order to focus on his own and collaborative productions, as well as to concentrate on DJing. He says that he lost something being label boss, and by stepping back he's become excited about it all again. "I've never really enjoyed the boring but necessary things. I don't think it helps your creativity or enthusiasm for things, you know? Sometimes I was getting a feeling of going to 'work'… I'd have a pile of promos sitting there I'd have to go through. Now, I was slightly upset that with a pile of promos sitting there I was thinking of it as a chore, and that's not supposed to happen," he says matter of factly. "But I've got excited again. I've been trawling through websites, hearing tunes, contacting producers, and frankly doing their heads in until they contact me," he chuckles. "There's some brilliant music around, Aquasky, Sons of Mecha, the Breakfastas, have got my interest up again. Plus my own productions with people like Acid Rockers, Aquasky, I know what I want to look for in a tune, I know what I want to look for in a set, so it's refocused me a bit."
Part of the rediscovery of this excitement is the fact that Tayo has started making his own tunes with his refocused energy. Although he has worked with Aquasky and Acid Rockers and used their equipment, he finds himself being able to just use a computer to compose his tracks. "I'm fairly new to the production process, so when you start it's a lot easier to start on computer rather than the outboard gear," he says of the equipment he's using. "If you start tomorrow it's easier to spend 1200 quid on a Mac or PC, and 700 quid on Logic, rather than outboard stuff which is going to cost thousands and thousands. There's a beauty in using the analogue stuff," he muses "but for space and practical reasons, you can do it all on computers now."
Another reason Tayo's making his own music stems from his quest for finding good an new music, no doubt a hang over from his record boss role. "If you rely on what you get sent, what's in the post or what's in the shop, you're not pushing yourself. My job as one of the main breaks DJ, if you will, is to stay fresh. My job coming over to a land of trainspotters like Australia," and he jokes, although he is spot on with this assessment, "is to have stuff that you lot don't even know about! I like to have stuff that's not coming out for 3 or 4 months, so when the trainspotters are peering over the decks to see what I'm playing they have absolutely no idea; that's kind of my job."
2004breaksLondonTayoUK
dB Magazine, Event, Interview, Music, Writing
Steinski
Winning the Tommy Boy remix competition with their "Payoff Mix" of G.L.O.B.E & Whizkid's Play That Beat Mr DJ in 1983, little did Steven Stein and Doug DiFranco realise they would become two of the most important names in hiphop, whose production techniques would span all genres of popular music. "I was fairly old… early 30s I guess maybe," Stein begins. "We didn't know if everybody made mixes like that, and we didn't know if it was anything special. We just did it in a weekend, we liked it and said 'OK, lets send it in'. It was a contest, and we hoped we would win, obviously," he says humbly, "but we didn't know. As it turns out they knew heard once they heard it!" In fact, the organisers left it for the judges to hear last, and they broke out in spontaneous applause once it was played. Steinski and Double Dee became an instant hit on urban radio.
The Payoff Mix was a mind numbing mix of hiphop, pop culture samples and sound effects, and soon became known as Lesson One. Lesson Two: The James Brown Mix featured the now infamous sample "Lesson Two" ripped from a dance instruction record was released in 1984. Lesson Three: The History of Hiphop features a whole heap of breaks that were common to hiphop, and strongly featured Herman Kelly & Life's Dance to the Drummers Beat arrived shortly after, although none were released at the time due to copyright laws.
"Boy, are you asking the right person!" Stein laughs when I bring up the subject of copyright laws "I feel somewhat constrained by them," he chortles. "But at the same time there are two sides to it. On the one hand, the idea that musicians should make money from their records is something that is close to my heart these days. What I don't agree with is the sweeping nature of the laws and the enforcement as it is happening now. I feel constrained by copyright laws because I would not make something that was obviously illegal with intent to sell it… I wouldn't not make it, I just wouldn't sell it", he smirks. "It's kind of stupid; the whole attitude is so corporate. They don't see it as art. It's frustrating in that respect, but I can make a legal album," he concedes. "The album I'm working on currently is all legal, and I feel much more confident about that than I did in the 80s.
In 1985, the pair split amicably. Stein went out on his own, and produced the chilling, evocative And the Motorcade Sped On. "Douglas and I had decided that we weren't going to make records together for a while," Stein begins, "and here I had this challenge – I wanted to make another record, because I liked making records it turns out, and I wanted to do something that had a very emotional impact. I took my own money, and it took me a while because I was working with a guy that was good, but who I had never worked with before, and it wasn't a partnership, it was really just me steering the fire engine. At the time, 20 years ago, the Kennedy assassination really had a lot of impact; there were a lot of people around even younger than me that remembered it. In the same kind of way that September 11 was a shock, that had a big impact in the United States, and hearing those sounds gave people an electrical stimulus."
"I did a 9/11 piece," he begins when I ask if there's any subjects or samples he wouldn't use. "I used audio from one of the plane to ground communications that was released after the investigation, and it's really intense. I wouldn't be playing this out at a party for a variety of reasons – first of all there's no beat in it, it's a ballad essentially, and the other it's REALLY depressing and slow moving, it's not really something for a party. But there are lots of samples and issues I wouldn't touch. If it turns my stomach or if it violates someone's privacy, I wouldn't touch it."
Steinski is touring Australia in December with the Nextmen and DJ Signify, and promises to offer something new to all those who go to see him. "I'm learning a new software package for when I perform in Australia. I'm not going to be DJing records. I am a really lousy live DJ and this is going to turn me into a good one!" he chuckles. "I'll have a lot of digital material that I can play and mix live, pre-recorded material, whole records of tracks, plus I'm going to be performing with DJ Signify on the turntables, and we're going to be doing his material also. So it should be a gas. Right now it's theoretically a wonderful idea," he chuckles, "and we hope to see soon if it's a good practical idea."
I let him know that he's playing at a rave, and he is stoked! "Really?! Oh no kidding!" he cracks up laughing, "What's the date like man, that's something I haven't experienced!" I explain to him how Enchanted Forrest usually works, and he becomes as enthused as I am. "Oh boy, are they going to be surprised at my stuff! I'm kinda of new to playing out, this is all news to me. I'm really interested to see this!" He's a little concerned that people may find him a little slow. "My stuff is very hiphopish, so if you're listening to stuff which is hard house, or drum and bass which is 140 to 150 or more BPM, my stuff is going to sound like doped out reggae compared to that… That sounds interesting," he muses, "that will be fun! Really? A rave an hour and a half outside Adelaide… Cool!" If Steinski's set is as fun as this interview was, then it's going to be a corker!
2004Enchanted ForresthiphopNYCSteinskiSteven Stein
Crackpot
September 28, 2004 FunkyJ	Leave a comment
It's a bit of a strange thing that a band can be signed to a well-known label, have over twenty tracks licensed for various compilations around the world, been played by throughout Europe and the UK via Gilles Peterson on BBC1, but still be relatively unknown in their home country. Crackpot's debut album Shelf Hypnosis is about to change all that as the funk-fuelled threesome bring their unique sense of music and humour home to Australia.
Each of the members of Crackpot; Martin 'Moose' Lubran, DJ Phil Ransom and Jade D'Adrenz, have had stunning careers. Lubran composed and produced music of some great Australian TV shows such as The Late Show, Funky Squad and films such as The Castle. Ransom has 2 DMC championships to his name, has performed at many of the major Australian Festivals, and toured, at the request of the Beastie Boys, with all Grand Royal acts visiting our fair shores. D'Adrenz, the singer-songwriter of the group has worked with acts such as Groove Armada, The Mad Professor and Tim 'Love' Lee.
Speaking from Melbourne, D'Adrenz talked of how the band formed a little over 6 years ago. "Moose and I had had been writing some tracks together and were programming drums, and couldn't find the right sort of sounds. We'd been trying to find drum machines that sounded like old 50s Jazz kits with 70s subsonic kick drums," she explains "and everything sounded stilted and programmed. Then one day we hooked up to write some tracks for another artist, and we met Phil (Ransom) and fell in love musically, and been together ever since," she giggles.
The first thing you notice about Crackpot is that not only are D'Adrenz vocals beautiful, but very quirky. "Quirkiness comes naturally," she enthuses. "The thing about Crackpot is all three of us had been frustrated previously about where we fitted in musically, so the whole point of crackpot is that we could all do whatever we wanted. But because of the way we all were, we didn't offend each other too much in doing so," she laughs.
Along with this come some quite outrageous samples, provided by Ransom. "If the song has a certain theme, I'll talk to Ransom about his samples and have my input, but part of the fun is to let him do his thing… He often surprises me and I find them all funny!" she chuckles. On the album you'll hear bizarre samples from people like physicist Steven Hawking. Being so strange and identifiable, I had to wonder if they any problems clearing them. "Tummy Touch takes care of the sample clearing, that's their domain, so we have no problems at all!" she laughs. "We're actually using less and less, and sampling ourselves… sampling our voices, and moose plays 10 instruments."
Speaking of Tummy Touch, it's quite a sweet deal they gained, as Tummy Touch is very well renown. "We didn't really go banging on doors looking for deals," D'Adrenz mentions. "We just were offered one about the time we were looking for one. It's all been a fairly effortless ride as far as that sort of thing is concerned. We'd made a short list of 5 companies that we thought had put out a cool product, had a diverse and interesting music, and good packaging, and that kind of thing. We were delighted when Tummy Touch approached us!"
Their other projects have now become side projects, well and truly. "Crackpot's always been the main thing for us, we've just been waiting for it to become the main thing in other peoples minds," as D'Adrenz laughs. "We're all pretty committed to it. We've had vinyl out overseas, and that's kept us going. We had 27 tracks licensed around the world. We've played in Melbourne, but we've played interstate, ummm… never I think! I think the live scene is very important in Australia, but we've managed to stumble along our way, and yet still feel appreciated", she chortles again.
No doubt Crackpot will surely endear itself to the Australian audience, as their clever lyrics, quirky samples and infectious beats travel across Australia Crackpot to follow up their debut. "For this tour we're hooking up with a drummer, Leroy from Plutonic Lab, because we don't want to play with too many backing tracks. It's pretty hard for Phil (Ransom) to be laying down all the beats as well as samples and doing backing vocals. At times we've put our beats on vinyl and he's cut them in, but it's pretty exhausting. So it's going to be good playing with a drummer and a bass player."
2004AustraliacrackpotJade D'AdrenzMelbourne
September 3, 2004 FunkyJ	Leave a comment
Infusion has been rocking Australia since the mid 90s, but has found their star rising ever quickly skyward, first being signed to Thunk Recordings and then their tune Dead Souls being picked up by Adam Freeland's Marine Parade label. The Wollongong trio of Frank Xavier, Jamie Stevens, Manuel Sharrad are the current leaders of Australian Dance music, holding the torch proudly high as they tour around the world, performing blistering live shows to packed houses. I spoke to Frank Stevens after a quick tour of Argentina and Chile, and the big UK festivals.
Their most recent big date in the UK was Glastonbury. "We had two shows at Glastonbury, one which was live to air on Radio 1, and then we had another gig in the Glades tent, which is a bit like the Boiler Room tent at the Big Day Out, and it was really good. We had about 5000 crazy English people jumping and going crazy," Xavier laughs. "Creamfields Argentina was amazing," he gushes of last years' festival. "We played for an hour and a half, and when we started there was about 150 kids there, and by the end of our set there were about 18,000 people there! We played Argentina and Chile this past weekend, and that was just incredible. I don't know how they've found out about us, but news just travels fast around that part of the world." Infusion is also big in Japan. "We've played Tokyo about five times, and the last time we played was in a club called Woo, to about 2000. The Japanese really love their music, will really give people a chance."
Although they were featured on Triple J and played the traps in Australia, it took some time before they got a wider appeal. "We've been playing around Australia since, well I joined in 1996, and it wasn't until 2001 that we went overseas. It helps when overseas people rate us, and we play some of the big festivals over there, then Australia goes 'Oh, hang on, they're doing quite well over there, let's give them some more attention.' Steven's is quick to point out that's not the whole of it, and is very loyal to Infusions early fans. The fan base that Infusion have crosses borders and genres, most obviously because the band refused to be pigeonholed. They combine breaks, techno, trance and progressive, and there are influences and similarities between them and a wide range of groups, from Icehouse to Pink Floyd. "Every band has influences and ours is from the late 70's and mid 80s. I was into Depeche Mode, Beach Boys, Japan, Bowie, but we all listen to a lot of different things and I guess when we all get together there's such a big range of differences it becomes a big melting pot."
Another contributor to the wide fan base is the internet. "Even though I'm not a big fan of forums, forums have really helped us a lot," Xavier states. "Kids from all different countries posting 'you've really got to check these guys out'… the news gets spread around. We've just released the album in Argentina, Chile and Canada, and with the push of the bigger record label it's just been getting bigger and better for us". But Xavier isn't so keen on File Sharing. "A lot of people seem to download the Radio One BBC files and I don't really mind, because it's on radio in the first place. Radio One is a promotional tool for us, so that doesn't really bother me. But with the album we checked to see if it was on soulseek last week, and it's not there yet, so lets hope it remains like that!" he chuckles "But it happens with every band, you can't avoid it. It's killing the industry, but what can you do, it's going to get worse and worse."
I mention to him that another person I interviewed had a similar view, and that they though file sharing would force the price of bands upwards so they could recoup their record sale losses. Xavier disagrees. "It won't force the price of bands up; it will encourage bands to tour more," he says. "It encourages them to get off their arses and not sit back and wait for people to buy their records, but get them out there and earn their money the good old-fashioned way," he laughs.
Infusion has definitely shown they can earn their keep, with vibrant live shows that equal rock performances in energy and vibe. "With a live band there's a whole lot more energy than what you can see on stage with a dance act. If you see people like Underworld and Chemical Brothers they're stuck behind keyboards twiddling knobs," he says, "and although it sounds live and it's 'big' sounding, it still doesn't have that appeal of when you have a drummer and guitarist going at it, there's a few mistakes here and there that leap out at you, and people get a lot of energy from that. The way we play is quite similar, with got a vocalist, and the sounds and way we mix are quite live, and the energy as we're all jumping around… we're not sitting behind laptops and twiddling knobs."
2004AustraliabreaksFrank XavierInfusionWollongong
Andy Smith
Andy Smith is the DJ behind one of the best mix CDs ever recorded, The Document, and it's follow up, the Document II. He's also one half of the incredibly upbeat and funky Dynamo Productions with Boca45 (Scott Hendy), and in a little unknown group called Portishead as tour DJ and sample finder. On tour recently to promote the new Dynamo Productions Get It Together, which features remixes of their finest tunes as well as a few new ones, I managed to catch up with Smith after a very successful Melbourne solo gig. "We're not going to Adelaide or Brisbane," he laments. "I asked the promoter why how come and they didn't really give a good answer, so I don't know why were not going!"
"I did a Northern Soul night last night in Melbourne," he states, "It's a bit of a hobby for me," he claims of the Northern Soul music. Relatively unknown in Australia, Northern Soul, called that because DJs in the North of England in the 70s would play this rare American pre-disco soul music, is regaining popularity in the UK. Smith got into it by digging for records. "If I found a label that was interesting I'd listen to it on my portable turntable and I guess I must have heard a few things… like the uplifting vibe on this one, or the fantastic voice on that, or it had a piece of music that was just amazing. I've started up a monthly club in London, and that's become one of my favourite club nights, it means I can go a bit deeper, do something a bit different."
Deeper and different is what Andy Smith is all about. From the sombre sounds of Portishead, to the upbeat tempo of Dynamo Production, to making mix CDs that feature James Brown, Cut Chemist and Kate Bush, Smith has a diverse and interesting musical knowledge that he clearly wants to share with people. "Basically my role within Portishead was finding samples, obviously I've got a big record collection. Before I met Jeff Barrow, (the main producer behind Portishead), I was a DJ… obviously I still am," he chuckles, "and when I met him at the youth club, in Portishead (the city from which they got their name), I was cutting up funk and hip hop, and he was one of the few people around who understood what it was all about. The whole Portishead sound is from Jeff, utilising the bits of the records I was finding him. When they went on tour, he was keen to help people realise the origin of the Portishead sound. That's why I did the warm up set playing original breaks and hiphop and a crazy kinda scratch mix before the show, to show people where their sound came from."
Given that both his mixes and the Dynamo Production stuff is so upbeat, I wondered if the being the Portishead DJ had its drawbacks. "Depending on where I am in the world," he says "Some places in Europe, I'll go to a gig, someone will come up to me and ask me to play a Portishead record, which annoys me really," he grumbles, "as they don't know about the Dynamo productions, but by the end of the night they will know. The Dynamo stuff is more me," he pauses. "I like being in a club and rocking the crowd, seeing the smiling faces and people having a great time. Doing the Portishead thing is great because I get to play my stuff to a different environment, but week in week out, I'm a club DJ."
The Document II was an astounding mix, and testament to his skills as a DJ. "I have a rough plan, but it all comes down to what you can get cleared (by the record company)", he says of his mixes. "I might submit 20 tracks and get only 6 or 7 back. So I might have two tracks that mix really well, but one might get rejected, so I have to go back and put them together the best I can. I was really lucky to get that Kate Bush track," he laughs. "I really wanted to do a mix that had a totally different intro, to make people go "wow, it's got Kate Bush on the intro". Some people don't understand why I've got Kate Bush on there at all, they're like 'what's that got to do with it?' whereas others think it's something really special, but as long as people talk about it, I really don't care!" he chuckles, "but I was really lucky to get that and the track that hiphop track that mixes into it. I think Kate Bush has done some fantastic music, and if someone picks up that CD because it's got Ultramagnetic MCs on it and then think 'oh, I actually like that Kate Bush track now'… it's all about opening up people to the music."
Smith loves the scene in Australia, and he and Scott Hendy seem to have a rapport with Aussie artists, having done remixes for the Resin Dogs and Katalyst. "We did those remixes because we come out here a bit, and the Resin Dogs were kinda into what we were doing and simply asked us. The link with Katalyst is through the label (Invada) and last tour. The scene out here seems pretty good for what we do; our album did better in Australia than anywhere else in the world, which comes down to the promotion invada gave it really, and the crowd here seem to be into what we're doing. In the UK if there's no scene for 'that thing of the minute', people might pass it by, whereas over here people just listen to it, they don't really care what they 'should' be listening to. The UK press tries to tell people what they 'should' be into, but here people listen to what they want, which is a lot healthier really."
The new Dynamo Productions album features remixes by Katalyst, One Cut, Krafty Kuts and Jimi Ently Sound. "I've known Krafty (Martin Reeves) for quite a few years. We've always thought about getting him to do a remix. Most of the people we remixed we knew, and offered to do their remixes, so I think we owe a few people some remixes," Smith laughs. "The Jimi Ently Sound were a band that used to play at Holiday Camps in the UK in the 60s. Someone found a master tape of them doing a version of Apache (originally by Cliff Richard and the Shadows), which then got put out on a 45… But it's a scam," he admists with a laugh", it's Jeff Barrow and Adrian Utley from Portishead who wanted to do some things under a different name without people buying them because they were Portishead. It now says "produced by Portishead", but originally it was going to be a quiet sideline," he chuckles again.
For the future, both he and Scott have a lot on their plate, and the continued collaboration may come to an end. " I've got a Northern Soul mix out in October for BGP records, and then maybe I need to make a few more phone calls, send a few more emails and get working on Document III," he says. "Scott's done a solo album, out on invada, under the guise Boca45 called Pitch Sounds which is also out in October, so he'll probably be doing promo stuff for that for a while, and if that goes well he might want to continue the solo stuff… but I think we'll probably at some point get back together and do something, I'm just not sure when," he adds optimistically.
2004Andy SmithDynamo ProductionsPortisheadThe DocumentUK
dB Magazine, Interview, Music
Hooligan Soul
August 5, 2004 FunkyJ	Leave a comment
The Hooligan Soul boys Grif and Pab have been causing havoc around Adelaide for a number of years now, DJing around town at various venues with various amounts of success, as well as playing live with some of the most important drum and bass DJs to visit our shores. These bad boys of beats look like they're about to take off both figuratively and literally, with the continued promise of a new album, a possible tour of Hong Kong, Singapore and South America and with Pab just coming back from a successful tour of Bali with Aphrodite and DJ Rap.
We caught up with them fresh from an exhaustive night at Mojo West at the surprisingly popular Hooligan Jam. "Yeah, it's going pretty smooth, the last vibe was absolutely rocking!" Pab enthuses. "It's the only place in Adelaide you'll hear proper UK Garage, and the last one we kinda got a bit adventurous and dropped a bit of Grime and 8-Bar in there too, and the crowd dug it! Nice and busy, it was cool." Their other gig, Wednesdays at the Cumby, is also going along strong, and both the boys hope that this will continue over the summer months.
The boys have been hard at work on the album, due out soon through 618 records, out soon. "We've been promising it would be out for god knows how long now, but we SWEAR this time we mean it when we say it's almost ready", they vow. "Other then that, we've been pretty busy with shows and what not. We got our Wednesday night thing at the Cumberland, Mojo, Rukkas as well as various shows at Traffic. On top of that, Pab's just come back from Bali, and we're both going back in a couple of weeks, and Griff's just recorded the new Beat Smugglers album, and they're on fire at the moment as well. We've remixed Mobin Master recently, and we're also working out a remix for the Jungle Brothers. We're in the process of sorting out shows in Hong Kong and Singapore too at the moment, PLUS Pab is sorting out some stuff in South America. So yeah, we've been pretty busy lately."
The Hooligans describe they're sound as "Our own", to raucous laughter. "I guess it's a kind of like the link between the smooth, rolling "Liquid" stuff and the harder, gutsy sound. I know it's a cliché but we don't want to be classified as one thing. Guys like Marky, Stamina MC, Moving Fusion, Grooverider, Marcus Intalex, and Calibre, they've all given us really cool feedback, saying our sound is really unique. And I don't mean in a "um… yeah… wow guys, that's really… umm… unique" way, when people just say that because it's shit," they laugh. "I think Marky's been playing Runaway, and apparently Rider was battering a tune of ours we handed him at Winter Enchanted last year. To be honest they probably don't play much of our stuff though cause we're too slack to send them new stuff!" On the local front, it's a little different. "Some play our stuff, some don't. Skyver & D-Jon play our stuff, Mark 7, MPK and Patch play it a bit… but it's kinda weird. We guess they got their own tunes they want to play, cause they complain we don't give them our tunes, but when we do they play them fuck all!" they laugh.
Their sound, like most performers, has developed as they've grown, and now they even dabble in a little hiphop and 2-step. But the boys claim that the main thing to change "is the sound quality. Our first tunes were musically watertight, but they were mixed like utter poo. We've got the mixing part sorted now; it's just so much cleaner! That's the only real thing really, our style has probably changed in subtle ways, but we're still the same team of village idiots making what we like to make."
The boys, and Lexy, the lead female singer, are looking forward to playing interstate and overseas. "I just returned," Pab states. "I had two shows in Bali which I found out were the best two shows Bali has ever had, and they're up for Event of the Year awards there. I represented Hooligan Soul, and the entire Adelaide Massive". But the boys won't be lugging their equipment around, as was so common in the past. With CDDJs, it has become a thing of the past to see Grif lug in two mixers and a PC. "It's too much of a headfuck, and to be quite honest, we both like DJing and MCing more."
2004AdelaidednbHooligan SoulUK garage
June 23, 2004 FunkyJ	Leave a comment
Ugly Duckling are one of those bands where you hear their music and are instantly happy because of it. They have a funky, fresh vibe that's infectious and fun. Their first album contained such tunes as Pick-Up Lines and A Little Samba. The former lambastes the stereotypical wannabe ladies' men, whilst the latter an amusing send-ups of hiphop braggadocio. The second album was Taste the Secret, which celebrated "Meat Shake", a restaurant where the gimmick is everything has meat in it. Throughout the album the trio explain their woes at working, the fight between "Meat Shake" and "Veggie Hut", and a whole host of other funny and clever songs, such as 'Mr Tough Guy' that pays out the idiot who acts tough at hiphop events, and Potty Mouth, a song with the wonderful line "All you really wanna do is make a fast buck / That's why rap sucks, it's too limited / Potty mouths wanna keep hip-hop primitive".
To my surprise, and perhaps even horror, I discovered that Meat Shake is actually real, and that the boys did work there. Although not a massive corporation as portrayed on the album, Meat Shake is a very small, family-owned establishment Andy Cooper, aka Andy Cat, one of the MCs of the group, explains. "So this has been fun for all of us. I've heard that (the Meat Shake) business has picked up considerably in the past year, and they loved the song and the album". Given the topic of the last album, I had to ask if anyone in the band was a vegetarian. "I'm not even sure if anyone in the group has been a vegetarian for a day!" replies Cooper. "That's not a judgment against veggie-people, and the point of our album was not to pick sides as much as contrast two different points of view. Actually, the 'meat shake' thing was more a metaphor than anything else. We were really talking about western culture and more specifically music culture, and, more importantly, we were trying to be funny."
And funny it is. Some might say fucking hilarious, but not UD, who try not to swear on their albums. "All of our music is 'kid tested and mother approved!'" Cooper laughs. "It's something that is important to us – there are plenty of groups that talk dirty so we liked the idea of being different. Plus, we wanted to be able to play our music for our families and not feel uncomfortable about it. I have to say that this is not revolutionary," he adds, "in fact, most of us love early De La Soul, Rakim, Biz Markie, Jungle Brothers, Run DMC, and those bands were, for the most part, squeaky clean."
Not only do they like those bands, but also there are very similar elements to them in their music. Although they had the questionable fortune of forming in late 1993 in Long Beach, home of gangster rap, they took a decidedly different path down the road of hiphop. The origin of Cooper's stage name is rooted in the gangster mentality, being that everyone, including Andy's gym teacher, referred to themselves as "dog", so he chose Andy Cat in order to be different. "We never entertained the idea of going gangster," Cooper says. "We wouldn't have gotten anywhere with that because I don't think anyone would believe that we were thugs. Being different has worked, for the most part, to our advantage so we can't complain too much. One thing about us that is often overlooked is the fact that we grew up around gangs, violence, drugs and all of that stuff." Dizzy, the other MC in the group, was even thanked on the first Compton's Most Wanted album, Straight Checkin' Em' record. "Ironically, we are much closer to that culture then a lot of the people who make fun of us for being so un-street," Cooper says.
Their sound is often called retro, or old school, but that tag is unfair as it's almost as if people are saying they don't like to look forward or progress. "Certain people love to label bands and the "old school" label has stuck with us because we have a traditional sound. That perception is out there and it has been harmful to us. For example, we didn't make a single reference to old school on our latest album and, in my mind, we put together one of the most creative records in years, yet often, Taste the Secret was categorized as a throw-back thing." Maybe it was the fact that it was a theme album, or maybe that the tunes were simple yet deep, but either way the album certainly sounds different to the new school rap that poisons our airwaves. "But we're not ashamed of our roots," he continues. "On the contrary, we're extremely proud of hip-hop heritage and we will continue to draw from that well, but we, more than most groups, combine new ideas with traditional rap values, and if that's a terrible thing then I'd rather be terrible."
Following a theme album is often a hard thing to do, with the expectation to follow it with something equally quirky. Ugly Duckling has given us Taste the Secret, a mini album that "closes the book on meat shake, although we may make mention of it on future albums," Cooper explains. "But, honestly, making a concept record was extremely difficult and I for one am looking forward to making a normal album next time. It's hard enough for us to get anything done as it is!" he laughs.
UD's hiphop heritage shines through from the album to the live shows. "Our show is all turntables," Cooper begins. "It costs more money to put of our stuff on wax but we feel that it is well worth the trouble. Turntables are to hiphop what drums, bass and guitar are to rock. Hiphop began with the DJ and we would feel funny doing anything else. In fact, we just got an offer to do a live, radio set in Australia but we were told that we couldn't use our DJ and would have to rap over a CD… we politely declined," he says with a wry smile. I ask about the possibility of CDDJs… "It's very convenient isn't it? Kind of reminds me of the guitar-style keyboards smooth-jazz guys play with a strap over their shoulders. It just isn't right. The possibility of the needle skipping is part of the thrill!"
Another thrill is seeing these guys live. They give it their all, and they have a similar presence to the Beastie Boys. Last time they hit Adelaide they played a rather short show, and left us wanting more. But it was on a Tuesday night… "We've really tried to step it up for this tour!" Cooper exclaims. "The show is much more theme-oriented and crowd participatory as well so, hopefully, people will be pleased. We will do everything we can to entertain you good people… we'll come to your houses and force meatshakes down your throat if we have to!" he laughs
2004Andy CatAndy CooperhiphopUgly DucklingUSA


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Professional Landscaping
How Landscape Irrigation Works
By: Chris Marlowe
Wally Eberhart/Visuals Unlimited/Getty Images
Irrigation through a young garden.
Are you tired of lugging multiple hoses around your yard to keep grass, flowers and shrubs green? Perhaps you've noticed that many of your neighbors have installed irrigation systems. Did you know that using these systems can provide a substantial savings in water usage? Saving water and time sounds great, but what if you're also worried about saving money? With some knowledge and patience, you could tackle installing an irrigation system on your own.
In this article, you'll learn about the techniques of landscape irrigation, basic irrigation designs and how pumps and sprinklers work. For those of you who are really serious, you'll also learn about what you need to do to be professionally certified as a landscape irrigator.
One note of caution -- if you live in the Southwest or another dry region, check local laws to determine whether you can install a lawn irrigation system. In regions that are prone to drought or low precipitation, using gray-water after taking showers or doing laundry may be your best option. Xeriscaping, or landscaping for dry areas, is a fast-growing technique for areas that seldom get rain. Planting cacti and other desert plants can help to solve the problem of low water supplies [source: LandscapeNetwork.com].
More Landscaping
Landscaping Principles
Urban Landscape Design
If you'd like to learn more about the history of irrigation, you may want to visit King City, California. King City is home to the History of Irrigation Museum, which is part of the complex at the Monterey County Agricultural and Rural Life Museum. The museum is dedicated to the history of irrigation in California, beginning with the early Spanish missions.
Not everyone uses the same kind of sprinkler system. Which one is best? Read on for some not-so-watered-down tips.
Landscape Irrigation Techniques
Landscape Irrigation Design
Landscape Irrigation Pumps and Sprinklers
Landscape Irrigation Certification
There are four major types of landscape irrigation. To determine which system is most suitable for your needs, you will need to consider the size of the area, the type of grass or plants you're irrigating, and whether you can live with the drawbacks of each system. The table below reviews and summarizes the advantages and disadvantages of each system type.
Gives water directly to plants' root systems, using only as much water as needed.
Best for dwarf fruit trees, shrubs, groundcover; it's not a good option for lawns or turf.
Tubing can be damaged easily by dirt, freezing or vandalism because it remains above the ground.
Flood System
Floods the ground rather than spraying plants. Comes as jet system, bed sprayer, or bubbler.
Some plants -- ground covers, fruit trees, and roses, for example -- are prone to mold and disease from overwatering, which can result from other systems. Ideal for adobe or clay soil.
Often requires abundant water, and land must be flat so that water flows evenly and does not run off, wasting water and causing erosion.
Rotary Sprinkler
Spray head that rotates in a circle.
Can cover as many as 100 feet (30.5 m) from sprayer, which is ideal for turf or landscape.
Needs higher water pressure to function best. Rotating head may stick; requires checking as part of regular maintenance.
Spray Irrigation System
Traditional sprinkler head is most common form. Pop-up heads come up only when in use, which helps to prevent accidents.
Adjustable, covering from one to 15 feet (4.6 m). Works best in smaller areas that are regularly shaped. Performs well even with low pressure.
Sprinkler heads need to be replaced if water is full of minerals.
Not precise, so can waste a lot of water.
[source: LandscapeNetwork.com]
Feeling creative? The first step in landscape irrigation is designing the system. Read on to get your feet wet.
A Most Capable Man and Building a Better Pop-up
During the eighteenth century in Britain, the man you might have wanted to hire to plan your garden was Lancelot Brown, also known as "Capability Brown." Brown made sure that the landscapes appeared to be natural and unplanned, even studying architecture to be sure his designs conveyed the classical idea of unity. One of his greatest works was Blenheim Palace, where British Prime Minister Sir Winston Churchill was born. Not bad for a man who began his career as a gardener's boy [source: Encyclopedia Britannica].
Once upon a time, spray heads didn't effectively water the area closest to the sprinkler, leaving brown circles on green lawns. Newer pop-up spray heads come with nozzles that have undercut sprays, a second opening beneath the main nozzle. This feature mitigates the problem of those unattractive brown patches [source: Tucker].
You're going to want to use graph paper to plan out your space. Figure out a system that will work for you, such as one square equals one foot. Draw your landscape on the graph paper. It's usually a good idea to use a pencil for your drawing, in case you change your mind.
You have two major choices when designing a landscape irrigation plan. If you have clearly defined geometric spaces (most lawns are squares or rectangles), you'll likely choose rectangular spacing. For purposes of irrigation design, sidewalks or driveways are irrelevant. The sprinklers will sit along the perimeters and in the corners, as well as any place where the imaginary grid lines intersect [source: Roberts].
Let's say, however, that you're dealing with an irregular-shaped lawn. A plan that uses triangular spacing will work best. Rather than marking off square grids, your design should be based on equilateral -- all sides are the same length -- triangles. This method generally offers better coverage than rectangular spacing does, even though there's likely to be at least one sprinkler that sends water farther out than you need. Figure the distance between the rows of sprinklers by multiplying the distance between sprinklers by .866 [source: Roberts].
How far apart the rows are is determined by the rating of the sprinkler head. You're aiming for coverage that goes from sprinkler head to sprinkler head. Don't worry, some overlap isn't bad. If the system you're looking at says it will throw water at a radius of 30 feet, take that with a grain of salt. These sprinkler heads are tested in prime conditions. If you live in a windy area, for example, that wind is going to blow the water and affect coverage.
Congratulations! Now you finally understand how your high school geometry class fits into the real world. Now it's time to check out pumps and sprinkler heads.
Words to Ponder
Conserving water is green and has been for more than a century. In an address to Congress in 1907, President Theodore Roosevelt cautioned, "To waste, to destroy our natural resources, to skin and exhaust the land instead of using it so as to increase its usefulness, will result in undermining in the days of our children the very prosperity which we ought by right to hand down to them amplified and developed" [source: Mcdilda].
The power is in the pump! A less than optimal pump means less than optimal pressure to the sprinkler head, resulting in anemic water flow. Choosing the best pump is critical. When you're looking at pumps, consider one of two types: positive displacement pumps or Roto dynamic pumps. Positive displacement pumps are low-volume pumps. Within the pump, a displacer moves into the cylinder, allowing the water to enter and leave through sprinkler valves.
Roto dynamic pumps give energy to moving water through a rotating impeller. The system may use a turbine pump, an electro-submersible pump, or a jet sprinkler.
Sprinkler heads also come in two major types: rotors and spray heads. If you've seen rotating streams of water on a lawn, you know about rotors. Older, impact rotors tend to be distinctive for the noise they make, though newer rotors are gear-driven, smaller and quieter. Fixed spray heads work like a shower nozzle, sending out a fan-shaped spray.
When selecting a sprinkler head, consider the size of the area that needs to be watered. Spray heads are the better option for most yards. Rotors cost more per sprinkler, so even though they are spaced at greater distances than spray heads, they aren't economical. Generally, choose a pop-up head of at least three inches (7.62 cm) for the sake of both appearance and safety [source: Stryker].
Position sprinklers according to zones. Take into account both physical features and sun exposure.
Suppose you've had both great fun and success with your landscape irrigation plans. Friends, neighbors and family members are asking you for help. Is it time to make this a profitable hobby, or even a new career? Move on to the next page to learn about becoming certified in landscape irrigation.
Becoming certified in landscape irrigation is gaining a professional credential that allows consumers to have confidence in your skill. It isn't required by law, but it's a good idea if you're serious about pursuing landscape irrigation as a career or a side job.
The first step is deciding what level of certification you want or need. There are three levels:
CID: Certified Irrigation Designer
CIC: Certified Irrigation Contractor
Certified Water Conservation Manager - Landscape (CWCM-L) [source: Irrigation Association]
International Irrigation Show
For more than you could ever imagine on the topic of landscape, turf or golf irrigation, consider a vacation that includes the International Irrigation Show. Each year during late fall, more than 350 exhibitors set up shop. In addition, the show offers technical sessions, a new product competition, and opportunities to network and attend seminars, education courses and exams [source: Irrigation Association].
Additional certification is available if you decide that your passion is for irrigating golf courses or becoming an auditor for landscape irrigation. Most of these positions require self-study or classes and passing a written exam. Between one and three years of experience or education is required before applying to take the exam. Classes are available for a fee from professional places like the Irrigation Association.
Registration for an exam must be done at least 30 days prior to the exam. Exams are given at trade shows regionally. Generally, it takes about a month to receive your exam results, but don't stress too much. You have three chances to pass before you must wait two years to begin the process again [source: Irrigation Association].
Certification must be renewed each year. A fee and a minimum of 10 Continuing Education Units (CEUs) are required to renew your certification. If going back to school makes you break out in a sweat, you can earn CEUs in other ways, such as by attending meetings, field days or trade shows. Seminars on the green industry or irrigation can also fill the requirement.
In addition to becoming certified, you may need to be licensed. Some states require you to pass licensing exams, often through a state bureau, such as a Department of Agriculture or Environment.
How Landscaping Principles Work
How Rural Landscape Design Works
How Urban Landscape Design Works
U.S. EPA: Landscaping with Native Plants
American Nursery & Landscape Association
Ecological Landscaping Association
Fletcher, David. "Designing an Irrigation System." (Accessed 11/19/08) http://landscapeandirrigation.net/
Irrigation Association. "Certification: Frequently Asked Questions" (Accessed 11/19/08) http://www.irrigation.org/certification/default.aspx?pg=faq.htm&id=90
Irrigation Association. "Irrigation Show 2008." (Accessed 11/19/08)
http://www.irrigation.org/show/default.aspx?r=0&pg=default.htm
Encyclopedia Britannica. "Lancelot Brown" (Accessed 11/19/08)
http://www.britannica.com/EBchecked/topic/81572/Lancelot-Brown
LandscapeNetwork.com. "Irrigation." (Accessed 11/19/08)
http://www.landscapenetwork.com/topics/irrigate.shtml
Landscape Planet.com. "Sprinkler Pump." (Accessed 11/19/08)
http://www.landscapeplanet.com/irrigation-3-sprinkler-pump.htm
Landscape Planet.com. "Sprinkler Timers." (Accessed 11/19/08)
http://www.landscapeplanet.com/irrigation-3-sprinkler-timer.htm
Mcdilda, Katherine Woodford. "Reclaiming and Reusing Water." (Accessed 11/19/08)
http://landscapeandirrigation.net/
Monterey County Agricultural & Rural Life Museum. "History of Irrigation Museum." (Accessed 11/19/08) http://www.mcarlm.org/index.php?id=14
Roberts, Keith. "Heads Up on Sprinkler Head Spacing." (Accessed 11/19/08)
Stryker, Jess. "Landscape Sprinkler Design Tutorial: Step #2, Types of Sprinklers." (Accessed 11/19/08) http://www.irrigationtutorials.com/sprinkler12.htm
Tucker, Tracy. "Irrigation Techniques: Irrigating Small Lots." (Accessed 11/19/08)
Chris Marlowe "How Landscape Irrigation Works" 10 December 2008.
HowStuffWorks.com. <https://home.howstuffworks.com/lawn-garden/professional-landscaping/landscape-irrigation.htm> 29 January 2023


which a very vulnerable group of organisms have to deal with.
of which their ecological habitats become endangered.
During the end of 2011 the first figure within this project was completed (Trooper Toad) after a commission to the great custom painter PlasticPlayhouse. Since I was so impressed by the skills he showed there I decided to ask him to paint up 7 more figures from the Battle Beasts line (all in damaged condition) and not just 7 random ones but those who were reptiles and amphibians since at that moment the idea of a team of reptile and amphibian Battle Beasts was already born. With these figures in progress there was some time to think over the 'philosophy' behind this project and the message this project is supposed to spread. At that moment the Earth Squad idea was born but instead of addressing a continent to a certain figure or to work with the original idea of water, sea, wood, land, fire, air the connection of balance on Earth was better represented by the ecosystems in which each of these figures live. So every single one of them was supposed to become a representative protecting its own ecosystem and to contribute to the team with its own special feature and or knowlegde so that the team as a whole would be in balance itself as well.
With these thoughts the great Illustrater Peter Hernandez was challenged to make an illustration for the poster representing the figures painted by PlasticPlayhouse showing them all together in a mystical landscape, on another planet, watching over the globe. This sketch was a long running project as well since he was asked to draw it on an A3 size paper and in full color so that the actuall figures could be recognized as such not only by shape and looks but also by their colors.
All together this project resulted not only in a piece of great artistic coherence but it also makes a statement with the message it represents because in the end these are indeed vulnarable organisms which deserve to be protected to save them and to restore the balance on Earth!
Project Idea: A project with the Reptiles and Amphibians from the vintage Battle Beasts line.
Conclusion: One of the best and most challenging projects done so far by the Beastformers team but in the end its been more than worth it since it has resulted in 8 awesome custom figures which are proudly added to the collection together with the great artwork and storyline that is connected to them.


text:
Q: Variable TableViewCell height without AutoLayout I have a super ancient Objective-C chat code based on UITableView. There is only one type of cell, let's call it ChatTableViewCell. In our chat there are more than 10 types of messages (text, image, event, etc). ChatTableViewCell itself is responsible for a bunch of logic, such as:

*

*Which side to display the avatar on (incoming or outgoing message);

*Hide avatar if it is 2nd+ message from the same user (message grouping);

*Reactions to the messages with emojis (users can react to any type of message);

*Label to show the delivery status for outgoing messages;
– etc.

ChatTableViewCell also holds a container view into which a needed subclass of UIView (ImageMessageView, TextMessageView, EventMessageView) is added as a subview.
In
func tableView(_ tableView: UITableView, cellForRowAt indexPath: IndexPath) -> UITableViewCell
method message is taken by its index from the array of messages. Before today, each message object would contain all information, to be displayed in the cell like message text, or, if it is an event message, for example, it would contain all info items such as location name, time, date, number of people who RSVP'ed, etc.
Chat code is an extreme legacy, there is no AutoLayout used anywhere, at all.
Each cell height is determined in
- (CGFloat)tableView:(UITableView *)tableView heightForRowAtIndexPath:(NSIndexPath *)indexPath
In this method message is taken by its index and depending on the its type, the message is passed to a static method of the needed subclass of UIView (embedded to the ChatTableViewCell). Those static methods have an ugly manual height calculation like this:
+ (CGSize)neededSizeForContentWithEventInfo:(SBEventInfo *)eventInfo
{
    CGFloat contentHeight = 0;

    UILabel *label = [SBEventBubbleView labelForType:LabelTypeIcon];
    label.text = @"";
    CGRect frame = [SBEventBubbleView frameForLabelText:label];
    contentHeight += frame.size.height;

    label = [SBEventBubbleView labelForType:LabelTypeTitle];
    label.text = eventInfo.name;
    frame = [SBEventBubbleView frameForLabelText:label];
    contentHeight += frame.size.height;

    label = [SBEventBubbleView labelForType:LabelTypeTime];
    label.text = eventInfo.time;
    frame = [SBEventBubbleView frameForLabelText:label];
    contentHeight += frame.size.height;

    label = [SBEventBubbleView labelForType:LabelTypeAddress];
    label.text = eventInfo.address;
    frame = [SBEventBubbleView frameForLabelText:label];
    contentHeight += frame.size.height;

    contentHeight += kEventBubblePaddingTop + kEventBubblePaddingBottom;

    contentHeight += (kEventBubbleContainersSpace + kEventBubbleButtonHeight);

    return CGSizeMake([SBEventBubbleView maxWidth], contentHeight);
}

+ (CGRect)frameForLabelText:(UILabel *)label
{
    return [label.text boundingRectWithSize:CGSizeMake([SBEventBubbleView maxWidth] - kEventBubblePaddingLeft - kEventBubblePaddingRight, MAXFLOAT) options:NSStringDrawingUsesLineFragmentOrigin attributes:@{NSFontAttributeName:label.font} context:nil];
}

PROBLEM:
Now there is a new type of message that doesn't contain all pieces of info readily available. Instead it only contains some ID, which is passed to a corresponding subclass of UIView, and then inside this view there is a network call, which uses this ID to fetch all the information. Having this asynchronous call, makes it impossible to calculate height of this message on the screen using ugly old-fashioned approach with static methods.
What can I do in this situation? Is it possible to return some temporary/dummy height from
- (CGFloat)tableView:(UITableView *)tableView heightForRowAtIndexPath:(NSIndexPath *)indexPath```

and then, when network call in the cell is done, somehow recalculate the height of the cell having all pieces of data available?
Once again, all this ton of code is entirely frame-based, unfortunately there is no AutoLayout used at all. Otherwise, it would be a trivial problem.
Any help would be greatly appreciated! Please ask more information, if you wish to help, but don't fully understand the issue.

A: I don't know how to calculate it when I get the data. But I think any data you get synchronously/asynchronously can be used for calculation, it just needs a callback to tell the controller That I've got the data, and you need to reset cell height. That's my idea.

A: In tableView(_:heightForRowAt:), return an estimated height for the rows that you don't yet have data for. Once the data is fetched for a row, call tableView.reloadRows(at:with:)
When the table view reloads the row, it will call the tableView(_:heightForRowAt:) delegate method again and you can return the proper height.

redpajama_set_name: RedPajamaStackExchange


text:
How Exercise May Offset Some of Alcohol's Damage
Regular exercise may counteract some of the brain-damaging effects of drinking alcohol, early results from a new study suggest.
In the study, heavy drinking was linked with damage to the brain's white matter, but only among those who didn't exercise very much. For those who exercised regularly, there was no link between heavy drinking and white-matter damage.
White matter forms "cables" in the brain that allow different areas to communicate. Because of the damage to drinkers' brains in the study, "white matter is not moving messages between areas of the brain as efficiently as normal," said study researcher Hollis Karoly, a doctoral researcher in Colorado University at Boulder's psychology and neuroscience department.
The researchers stressed the findings do not mean you can drink as much as you want as long as you exercise. Heavy drinking takes a toll on many organs in the body, not just the brain, Karoly said. And the study only looked at white matter — it's possible exercise does not ameliorate damage to other components of the brain, such as the brain's gray matter. [See 7 Ways Alcohol Affects Your Health.]
In addition, the study only looked at participants' brains at one point in time. To find the reason for the link, more research is needed that follows people over time, Karoly said. It could be that people who exercise also engage in other behaviors that improve their brain health (such as eating healthy), or that exercise over many years is needed to have some sort of protective effect, Karoly said.
The study should encourage other researchers to further investigate the connection between exercise, alcohol consumption and brain health, Karoly said. In the future, exercise might be prescribed as an adjunct to treatment for people with alcohol abuse disorders, she said.
Previous research has shown that alcohol consumption damages white matter, while exercise has benefits to the brain. The new study looking at the connection between the two "was a logical next step," Karoly said.
The study involved 60 people who had their brains scanned, and answered questions about their alcohol consumption and exercise habits. Participants' drinking habits varied widely, from no drinks in the past two months to more than 300 in two months. Their exercise habits varied from no exercise in the past three months to about 420 minutes of exercise weekly.
More research is also needed to know whether the results apply to people with diagnosed alcohol disorders, Karoly said.
The study is published today (April 16) in the journal Alcoholism: Clinical & Experimental Research.
Pass it on: Exercise may protect against some of the damaging effects of heavy drinking, but that's not a free license to consume alcohol.
Follow Rachael Rettner @RachaelRettner. Follow MyHealthNewsDaily @MyHealth_MHND, Facebook & Google+. Originally published on MyHealthNewsDaily.
11 Interesting Facts About Hangovers


This Gecko is one you can really have a lot of fun with fabric. Which also makes it very boy or girl friendly.
3 sizes: Wall 24"x28", Crib 36"x42, and Lap 48"x56"
Skill Level: Beginner The pattern lists fabric yardage, then uses tables to show the number of strips to cut and the number of pieces to cut from those strips. The entire top is then sewn using straight 1/4" seams. The shaping is done with quick corner triangles also called the snowball method. There are some instructional videos on youtube and facebook. Just search Counted Quilts.
Selecting Fabrics: Due to the fact that the pattern pieces may be sewn both horizontally and vertically to make the picture we recommend using non-directional fabric.
Email Pattern Option: The pattern and its cover in PDF format will be emailed to the register email address (unless you give another alternate address) from lisa@countedquilts.com. If you do not receive the patterns check in your spam folder. If it is not there within 2 business day please contact me.
Mailed Pattern Option: The mailed patterns will be mailed to you within one business day, and should be received within 3-5 days in the United States.


Rain Garden Guide | Seekamp Environmental Consulting, Inc.
A rain garden is a shallow depression that allows rain and snowmelt to seep naturally into the ground by capturing runoff from rooftops and driveways. Most importantly, rain gardens help preserve nearby streams and ponds by reducing the amount of polluted runoff and filtering pollutants.
Stormwater runoff from residential areas often contains excess lawn and garden fertilizers, pesticides and herbicides, oil, yard wastes, sediment and animal wastes which cause water pollution.
Rain gardens fill with stormwater and allow the water to slowly filter into the ground. They also help prevent stream bank erosion and lower the risk of local flooding.
Do not fertilize your rain garden. Water runoff carries many nutrients and fertilizes the rain garden regularly. Place the shoveled snow next to the garden so it will be absorbed into the rain garden when it melts instead of shoveling it into the garden. Locate the rain garden away from direct road salt discharge and of course, do not add soil within the rain garden.
After planting, you will want to pull weeds out of your rain garden until the mature plants crowd them out. For the first year, your rain garden will require monthly weeding during the growing season. It is only necessary to weed one time per year in the following years. Shrubs will need to be pruned annually. It may be necessary to water several times per week during extreme dry spells.


This cake is enrobed in a thick coating of milk Belgian chocolate, with a white chocolate runover, topped with one or two giant chocolate numbers of your choice.
Available for store collection. We appreciate 7 days notice for this design as all cakes are made by hand to order. However if you require the cake sooner please contact our help team. The cakes have a 10 day shelf life from the date of baking.
The lemon cake contains NUTS, EGGS, DAIRY and SOYA.


text:
Q: How to avoid (single) mouse click processing on double click in browser JavaScript? If the user double clicks an HTML button, the single click event listener gets called before the double click event listener.
Is there a way to skip single click processing on double click (without jumping through hoops)?
Keep in mind that I want to be able to react to the single click, if user does not double click!
Take a look at the self-explanatory sample at jsfiddle.net.
myEventButton.addEventListener(
    'click',
    function(/*e*/)
    {
        myClickDiv.innerHTML = 'Clicked.'; // Gets here first on double click.
    });

myEventButton.addEventListener(
    'dblclick',
    function(/*e*/)
    {
        myDblClickDiv.innerHTML = 'Double clicked.'; // Gets here last on double click.
    });

A: Here is a solution
I don't know if there is a proper way of doing it, but this works. The idea is to keep a timer between clicks, and you forbid any clicks faster than that. This means that when double clicking, the first click will be registered, but the second, being too fast, will be ignored.
Of course you could abstract this behind a nice function, but you get the idea.
Your modified code:
// Added variables to store timers
var minTimeBetweenClicks = 1000;
var lastClickTime = Date.now();

myClearButton.addEventListener(
    'click',
    function()
    {
        myClickDiv.innerHTML = '';
        myDblClickDiv.innerHTML = '';
    });

myEventButton.addEventListener(
    'click',
    function(/*e*/)
    {
      // Check the timer before doing anything
      if (Date.now() - lastClickTime > minTimeBetweenClicks) {
        myClickDiv.innerHTML += ' Clicked.';
        lastClickTime = Date.now();
      }
    });

myEventButton.addEventListener(
    'dblclick',
    function(/*e*/)
    {
        myDblClickDiv.innerHTML = 'Double clicked.';
    });

PS: I also modified your click code to add "clicked" to the button, so you can see that the double click doesn't  add it twice.


The functions in the Transform menu are used to change the pixel orientation and size of an image.
� Mirror lets you mirror the image horizontally, vertically or diagonally.
� Rotate lets you rotate the image to the left, right, upside down or by a specified angle.
� Size lets you change the size of the image or stretch it in either direction.
� Normal Filters lets you blur, soften, or sharpen the image.
� Edge Filters lets you enhance or find edges in the image.
� Special Filters lets you apply one of the special filters.
� User Defined Filter lets you apply a user-defined filter.


text:
<?xml version="1.0" encoding="utf-8"?>
<shape xmlns:android="http://schemas.android.com/apk/res/android">
    <solid android:color="#aaa"/>
    <corners android:topLeftRadius="5dip" android:topRightRadius="5dip"
        android:bottomLeftRadius="0dip" android:bottomRightRadius="0dip"/>
</shape>


text:
Home News latest news CSC to acquire cloud company
CSC to acquire cloud company
Published October 31, 2013 by Jessica Sabbath
CSC has signed an agreement to purchase enterprise cloud management company ServiceMesh.
CSC, a Falls Church-based information technology comapany, said the acquisition would allow the company to help its clients migrate their applications into cloud computing environments.
ServiceMesh, which is based in Santa Monica, Calif., provides ServiceMesh Agility Platform, which automates the management of enterprise applications and platforms across private, public and hybrid cloud environments.
The company's clients include some of the world's largest enterprises in financial services, health care and other industries.
"With ServiceMesh, we will empower an ecosystem of enterprise software providers by lowering the friction for companies to execute a multivendor hybrid cloud strategy while maintaining central governance, policy and administration," CSC Chief Technology Officer Dan Hushon said in a statement.
The acquisition is part of CSC's strategy to acquire business in the high-growth segments of the technology services market. The acqusition price was not disclosed.
The companies expect to close on the transaction in the third quarter of CSC's 2013 fiscal year, which ends in December.
Five Virginia colleges announce energy initiative
Partnership acquires five-story office building in Ballston
Poll shows Kaine with early edge in re-election bid


What does one think about when we say "Italy"?
Does its history and culture, and its works of art come into mind?
Its unique, historical cities such as Rome, Florence or Venice?
Does one think about the taste of Italian style, in design and in fashion?
Or does one think of one of the healthiest and most appreciated cuisines in the world, which goes beyond pizza and spaghetti to offer a wide variety of genuine products that are at the base of the Mediterranean diet?
Italy is all these things and many more: "Italian" is synonymous of good taste, quality, culture and beauty, in essence it is what is commonly called "la dolce vita", the sweet life. It doesn't hurt that it is also a beautiful country, with magnificent landscapes including the region of Tuscany, the Amalfi coast and the islands of Capri, Elba, Sardinia and Sicily.
It is thus no wonder that so many websites exist dedicated to Italy and to its various features, from tourist guides suggesting places to visit to online shops selling wholesome Italian products. ItalianWeb reviews these types of sites, selecting those which we feel are the most complete, updated, and well developed, cataloging them into thematic areas. In this manner, we hope to help all those fascinated by Italy and all things Italian in their search for "la dolce vita".


Mariangel is from Venezuela, lived for many years in Panama and now lives to Spain! She studied Informatics Engineering and has a master's in Marketing. Mariangel has experience in project management, digital marketing, social media and content management. She is very interested in everything related to branding, marketing and consumer behavior. Mariangel is an enthusiastic and positive person, always willing to collaborate with the team and learn new things.