Music alumna Joyce Kwon is a recipient of the Hertz Traveling Fellowship, which is awarded to individuals who have manifested unusual talent in music and who show a bona fide intention to devote their lives to music. She received funding to study the Korean zither in Seoul for the academic year 2015-16. While in Korea, her initial goal was to record a mini-album of gayageum/voice songs with accompanying music videos. Since then her project has grown to a full-length album, titled "Dream of Home" released on 12/7/18.
How did the project go from a mini-album to a full-length record?
My debut album "Dream of Home" is now out and it bloomed into a bigger project than initially imagined over the course of the past year. It is a singer-songwriter album of what I'm calling "New-American Folk" music, songs about a new American experience — folk music of folks of the diaspora. I sing and play gayageum, the 12-string traditional Korean zither, on my original compositions as well as a couple arrangements of folk songs, along with a rhythm section of drums, bass, guitar and many keyboard instruments plus saxophone and trombone.
To give a bit of background, I studied composition and contemporary improvisation when I was an undergraduate at Cal and started learning to play gayageum when I moved back to LA after college. My late teacher was like my own grandmother and I studied in the old-school way of mirroring her each move on the gayageum, with no notes or recordings of any sort allowed, at a snail's pace for a couple years. She imparted a deep love, pride and appreciation for Korean traditional music to me, which was fundamental in making my album. I stopped playing for years after that once I moved to New York but then relocated to Seoul to continue my gayageum studies on the Hertz Fellowship in 2015. Having started arranging and writing songs on gayageum for fun, I recorded one of them, called Little Bird. My friend Ross Garren mixed that track and encouraged me to make an EP so once I moved back to the States last fall, we started on the project in earnest.
We were planning on doing a solo voice/gayageum album in the vein of Little Bird but as we started arranging the songs, Ross suggested chordal instruments and others to flesh out the arrangements. It was fantastic having a skilled and talented producer to help guide the direction of the album: to me, the songs sounded plenty full already but to anyone unfamiliar with the spacious and sparse aesthetic of traditional Korean music, I now agree with the producer that they wouldn't have heard it the way I did. It's a very different experience holding a resonating zither in your lap, feeling warm breath and savoring the physicality of performance versus hearing a facsimile in the relatively flat dimension of an audio recording.
From the beginning, I said we could arrange the songs any way we want as long as we get the stories/lyrics across, and we weren't tied to a strict budget so the project kept growing at each step of the process. Two generous days in the studio grew to a tight twelve, the timeline stretched three seasons beyond the fall, the budget ballooned six-fold and we ended up with seven musicians on the album instead of one or two. Then because I had already invested so much in the music, all of the supporting processes and creative also grew in scope. I'm glad it grew the way it did because that is the only way this album could have happened.
My college friends showed up in full force when I did a Kickstarter back in May and it has been a communal gathering with my various communities generously contributing, whether it be their creative talents, funds or other resources to make this album happen.
So to not make a long story any longer, that's how the mini-album turned into a longer album — my debut album!
This is a folk album at its core, rooted in Black American Music and Korean traditional music, but it was produced like a pop album using some of the most modern studio technology. We recorded it like a pop album, layer by layer, as opposed to a jazz album where you might track the whole band in the studio for a couple days and then clean up vocals. Ross and I would mock up an arrangement for each song before taking a day in the studio for it, tracking each of our parts first (keyboards and harmonica for Ross and vocals and gayageum for me). Then we tracked everything else, replacing the digital mockups with real instruments. We did this over the course of five months, going in a couple days a month to track while completing arrangements in between those sessions and also did some arranging during the tracking sessions.
Having made an EP in the past with my indie electronic band where it was heavily electronic and not performable in a live situation, It was important to me that we build the arrangements on real instruments, where we could recreate at least the essence of the music in live performance. I hope and plan to perform this music in various configurations in the coming year.
Because there were no clear predecessors for the album we were making, at least as far as I know, we had much to figure out in terms of how we wanted to mix the album and also how we wanted to approach the arrangements. I learned that even as musicians, depending on your reference points, you may hear the same music quite differently: in general, I did not see the need to add more parts but the same arrangements would sound skeletal to Ross. This tension was present throughout most of the music-making process and thus, influential in way the album shaped up. I was vigilant in making sure that we did not veer too far from the feeling of palpable space found in Korean folk arts while Ross, in effect, ensured that the album would be accessible to a greater audience with his signature lush arranging style.
I came up with a key phrase for each song for everyone involved to keep in mind in arranging and recording the album. For example, the key phrase for the title track "Dream of Home" was "beauty of space, like looking into a pool of water." I like to say that I was "vibe control" while Ross was "quality control." We make a great team and I'm thankful to have gotten to work with not only the best musicians but some of my closest friends in the world for this album.
This album was inspired by my experience going back home to Korea, where I was born and lived until the age of eight. It was a devastating time of loved ones passing away and residing in the world of the undead, being thrown under the bus by people I trusted and also going through what I suspect is a common experience for expats of feeling like an alien in the motherland after growing up made to feel you don't belong in your adopted home country.
Feelings of homelessness and displacement were major inspirations for the album but so were an element of unrelenting hope, no matter how small, and anticipation of death—not in the feared way it's often looked at but in striving to live boldly while alive. Also, while I don't plan on dying for another five decades or so, I wanted to have something to leave so that family and friends could hear my voice (it happens to be literal in my case since I'm a singer) even when I'm gone. In laughing out loud while reading a posthumously published book of someone I adored, I realized that I had forgotten for a moment she was gone. I also found a stack of letters my aunt had sent years ago and it allowed me a chance to hear her voice clearly even after she had passed.
Back to the place of inspiration, Korea — I found the most concise way to describe my two years there is as an upper level of purgatory. So the "Dream of Home" is a nightmare and I spent most of the year back in shell shock from my time there. Working on the songs helped me process the trauma and the album was a great motivator in helping me get through each day for the past year. So it was inspired by my experiences but also became an inspiration in pulling me up when I was sinking.
How did you apply what you learned at UCB Music? Or how did what you learned at UCB change once you started on the project/it evolved?
Berkeley not only gave me a sturdy background in music theory and history but all of that within the context of a liberal arts education. It pushed me to think of music in social, cultural, political contexts and that mindset is core to me as a performing artist. It's certainly possible to arrive at that in the context of a conservatory or the real world/no college, but for me, Berkeley couldn't have been a better match.
The music department gave me ample room to grow and flourish. Because the department is more focused on composition, theory and musicology than performance, I had great flexibility in creating my own performance opportunities and devising a track closely aligned with my own interests in composition and contemporary improvisation. If my time in New York was to work out vocal technique and cut my teeth as a professional musician, and Los Angeles, a place to polish and refine rough edges, Berkeley was to lay down the musical foundation and stretch in any and every direction I desired, exploring the avant-garde without any concern of practicality outside of academia. It encouraged me to think creatively and boundlessly through a wider lens of the arts and humanities rather than focusing solely on idiosyncrasies of the musical field.
Though I've been away from Berkeley for a number of years now, I think the sort of oddball Bay Area character is apparent in my work as those were my formative years and my time in the music department very much shaped the way I compose and think about music. I am thrilled to share my debut album with college friends and teachers who saw and cheered me on from the beginning, as I began to develop my voice as an artist.
Listen to Joyce Kwon's album "Dream of Home" here.


Rising 22 stories above Portland, Oregon's evolving West End neighborhood, Twelve | West is a 550,000 SF mixed-use building designed by ZGF to serve as a laboratory for sustainable design and workplace strategies. The double LEED Platinum-certified building features street-level retail space, four floors that house ZGF's Portland office, 17 floors of apartments, and five levels of below-grade parking. The building has an eco-roof, a rooftop garden and terrace space, a complete fitness studio, and a theater. Four wind turbines sit prominently atop the building, representing the first U.S. installation of a wind turbine array on an urban, high-rise. Twelve | West serves as not only an anchor in a rapidly transforming neighborhood, but also as a demonstration project to inform future sustainable building design. The building is located immediately south of Portland's well-known Pearl District—an acclaimed urban renewal district that is considered a model of live, work, and play mixed-use development. Twelve | West's site was selected in part to serve as a catalyst for additional transformation in the West End. The goal is to create a significant retail and pedestrian connection to the Central Business District to the southeast and the mixed-use neighborhoods to the north and west of the West End.


Here it is — the first Coach's Corner of 2017! And the big story is Canada fell short of winning World Junior Gold as the expense of their North American rivals, Team USA. How does Grapes explain all of this? Watch and find out.
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text:
Agco Settles Corruption Case For $1.6M
International farming equipment manufacturer has agreed to pay $1.6 million for paying kickbacks to the former Iraqi government to secure United Nations oil-for-food contracts.
Oct 1st, 2009
Errin Haines, Associated Press Writer
ATLANTA (AP) -- A Georgia-based international farming equipment manufacturer has agreed to pay $1.6 million for paying kickbacks to the former Iraqi government to secure United Nations oil-for-food contracts, the Justice Department announced Wednesday.
Federal prosecutors had charged the Duluth, Ga.-based Agco with one count of conspiracy to commit wire fraud and conspiracy to violate record keeping provisions of the Foreign Corrupt Practices Act. However, the charges will be dropped after three years as long as the company cooperates with authorities, under the terms of the agreement.
According to the agreement, Agco paid about $553,000 to the former government of Iraq to secure three contracts between 2000 and 2003. The contract prices were inflated by as much as 21 percent before they were submitted for U.N. approval. The U.N. then paid out the extra money to Agco, which was then used to pay kickbacks to the former Iraqi Ministry of Agriculture.
Debra Kuper, general counsel for Agco, said the company was pleased the matter was resolved. Agco, which confirmed the agreement with the Justice Department, has since implemented a new compliance program to prevent similar problems, Kuper said.
Charges against Agco will be dropped after three years as long as the company cooperates with authorities, the Justice Department said.
Agco also reached a settlement with the U.S. Securities and Exchange Commission, agreeing to pay a civil penalty of $2.4 million, and another approximately $16 million related to 16 oil-for-food contracts.
The international company was founded in 1990 and had $8.4 billion in sales in 2008.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Ice Cube: Really Doe (1993)
Video | 5 min | Short, Music
Ice Cube performs in the music video "Really Doe" from the album "Lethal Injection" recorded for Priority Records. The music video begins sounds of a gun shots and bullet cases falling to the ground. Ice Cube sits in a flannel shirts and ...See moreIce Cube performs in the music video "Really Doe" from the album "Lethal Injection" recorded for Priority Records. The music video begins sounds of a gun shots and bullet cases falling to the ground. Ice Cube sits in a flannel shirts and raps in an abandoned building set. Written by Shatterdaymorn See less
Dec 1993 (United States)
1 cast member
Ice Cube Ice Cube See fewer
Friday (1995)


text:
Subscribe to MediaDailyNews
OAAA Buyer's Guide: It's The Video, Stupid
by Joe Mandese @mp_joemandese, May 25, 2021
In a major push to equate video ads in digital out-of-home venues with linear TV, OTT and streaming, the Out-of-Home Advertising Association of America (OAAA) today is releasing its first "Buyer's Guide" devoted to video advertising.
"While linear TV has traditionally been seen as the advertising stronghold since its inception, the rapid rise of mobile, digital, streaming, and OTT has unlocked new channels and new ways of thinking," Dentsu Media Americas CEO Doug Rozen writes in the introduction to the guide, providing a tacit endorsement for guide, which is largely a promotional pitch for out-of-home media outlets.
It also appears to be another push by the OAAA to encroach on the turf of other trade bodies -- in this case, the DPAA (Digital Place-Based Advertising Association), which has long been the primary association organizing digital out-of-home video advertising industry initiatives.
It also follows pushes by the OAAA to set industry standards that would normally involve other bodies, including last week's release of advertising measurement standards that appeared to undermine the out-of-home ad industry's long-standing currency, Geopath, as well as mobile measurement standards for digital out-of-home media released earlier this month that were made without the involvement of other relevant trade bodies.
advertising, cmmr, digital, digital-out-of-home, ott, out-of-home, streaming, television, video
MediaPost All Stars January 26, 2022
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What Kind of Pastor's Wife Are You?
I've had folks ask whether I enjoy being a pastor's wife, and I've had others inquire about what it's like to be a pastor's wife, but I had never been asked what kind I was…until now.
Did she wonder if I was the extra-super spiritual kind? Earlier that day, I lost my temper with my youngest because she switched around the apps on my phone, so I'm certain I don't fit into that category. Or maybe she wondered if I was the really crafty kind? But then my idea of crafting is putting icing on cupcakes and then eating them.
Ah, yes. She wanted to know if I was the kind of pastor's wife who was involved in the church.
One of the most frequently asked questions of seminary wives is, "How much will I need to do in the church?" The fear of unrealistic expectations from congregants is real, but in many ways, it's sad to me that this is a common concern for pastor's wives. Instead of stressing over whether you're the kind who is involved a lot or a little, maybe there should be more of a focus on the joy there is in this role.
Sisters, you have been called by God to the place you are right now. Yes, your husband is the one called to the pastorate, but you were never left out of this journey.
The creator-God called you to Himself. He called you into one flesh with your husband, so he called you together into the ministry. Satan would love to see you unraveled by trying to satisfy the expectations of others, but don't let your fears of this calling be swallowed up by the joy in trusting God's sovereign hand in it.
Philippians 1:6 reminds us that "…he who began a good work in you will bring it to completion at the day of Jesus Christ." In this calling, He will do good work in and through you until the day you meet Jesus face to face. Drink from the cup of His goodness and know with confidence and joy that God saw fit to call you to this unique role.
Joy in using our gifts.
Several years ago, I sat with an elderly woman whose ill husband we had been praying for. Because I was so used to inquiring about his health, I asked the woman how her husband was doing.
"Right. Yes, that's right," is how I responded.
I've never had the gift of eloquence. Unless my words are written out ahead of time, I'm like Moses, wondering why God would have me speak to anyone anywhere. It may take some time to understand your specific giftings, but 1 Peter 4 reminds us that we each have a gift and should be using it to serve one another as stewards of God's grace.
Through the years, I have discovered that my gifts can be shared in the music ministry of our church. I find so much joy in assisting the congregation in song. Find what you love— find what brings you joy—and use your gifts there. Being a pastor's wife doesn't exclude you from serving in the local church. You are called to do no more and no less than the congregants you worship with. Each of us has a God-given gift not to be put away for a "less busy day" but to be used to serve one another.
We've had some extremely difficult times in ministry, and we've had some beautifully content times as well, and in each of these circumstances, I've been reminded to be thankful. The Lord carries us with His strength and for His glory. Being in the ministry has little to do with us and everything to do with the One who provides for our physical, emotional, and spiritual needs— often through the extension of God's people. The joy comes when we have thankful hearts for these daily provisions.
After forgetting about the passing of her husband, the elderly woman hugged me. Sure, she probably shook her head and thought, "dear, sweet…idiot," but she showed me grace, and I was filled with thankfulness. Be thankful for your church members. Love and pray for them with a heart of gratitude knowing that many will show you abundant kindness.
And be thankful for those who are difficult to love. This will never be easy, but joy can't be consumed by hatred when we are prayerfully and humbly giving thanks, even for the sheep that bite. Quench your thirst for acceptance and love not from the words of the congregants, but from the words of our Savior who has lavished His grace on us. And by that grace, may we be the kind of pastor's wives that are filled with Joy in Jesus.
Katie is wife to Chris, a PCA pastor at Trinity church in Kirkwood, MO, and together they have three children, Ella (15), J-Rod (13), and Lily (9). Katie works as the music director at Trinity and serves on the Women's Ministry Committee. She also spends much of her time writing, teaching piano, leading women's Bible studies, and speaking to women's groups about the joy she has found in Christ. Katie serves on the board of Covenant College, where she graduated with a BA in English Education, and is currently pursuing her Masters of Arts in Theology from Covenant Seminary in St. Louis. For more information, as well as various blog entries, you can visit her website at www.katiepolski.com.


December | 2015 | path: ethic.
The Week Links: in which our blogger supervises children in a paddle pool.
We bought our Offspring a little backyard pool a few months ago, as a Christmas present, and yesterday was the first really warm day since Christmas when we could use it. So I spend most of the day watching them while worrying that someone would drown. It's exhausting (although the good news is, nobody drowned). Today is going to be hot again, so I'll be taking them to the beach, so I can watch them and worry that someone will drown, but with a different backdrop. Ah, summer with children who are yet too young to be able to swim properly! What joy.
It's Boxing Day evening here, and I'm tired. This is obviously due in great part to the fact that it was Christmas Day yesterday, and Christmas Eve the day before that. Our Offspring have been so excited about The Big Day, counting down the days, with Fourth Offspring asking everyday, if we could go to Christmas.
This has been the first Christmas where they all 'get' it. Last year, Fourth Offspring was only two years old, but this year, having turned three a few months ago, he was very much aware of what was going to happen: Santa comes in the night, and leaves presents under the tree. First Offspring, aged eight, is still convinced of this, and so for the first and almost certainly the last time, all children were enthralled with the magic of Santa, and I'll admit, that was a lovely thing to be a part of.


A little bit of everything this go 'round while I give my hands and fingers a little warm up before work.
We found ourselves in Madagascar yesterday, the animated film, and were fairly entertained by it's simple humor. I think more than anything we enjoyed our son watch the film. At 2½ he's full of life, quick to giggle and eager to share his excitement. At several scenes in the film he turned to us or anyone nearby and said, "Look!!" (pointing at the screen then laughing). We also enjoyed the cultural refs (gee, I wonder why). I was very pleasantly surprised that Sacha Baron Cohen voiced the King Lemur, while not a fan of his alter ego (Ali G), I felt he did a bang up job with the little dancin' Lemur treasure.
Comic Con is rolling around again in mid July and I will be there on Sat and Sun basking in two days of super geekdom. I can remember way back when it was held in really small rooms and nobody came, relatively speaking to the masses that attend now. 87,000 in 2004...making it the second largest convention in the city of San Diego, crazy. Comic Con is a work out, the size of the convention center is huge (for those of you who attended CIII the SD Con Center is double the size of the Indianapolis Convention Center) so there's no easy way to quickly get from one end to the other (which frequently happens). One complaint I've had in recent years is that with 87,000 bodies hanging about it gets rather humid and warm in the exhibitors hall, hot and muggy. Thankfully San Diego's climate is very mild so one can catch a cool sea breeze outside...don't worry no chance of SNOW here! ;) Hope to see some of you there!
Oh My! I have many more actors to add to the database, how do I find the time? I don't know.
I added a couple of sketches with a few more on the way and have added a few more references too...which consistently roll in from fans near and far.


text:
{-# LANGUAGE RecordWildCards #-}

module Main
       ( main
       ) where

import           Data.Proxy (Proxy (..))
import           Language.PureScript.Bridge (BridgePart, buildBridge,
                     defaultBridge, mkSumType, typeName, writePSTypes, (<|>),
                     (^==))
import           Language.PureScript.Bridge.PSTypes (psInt)
import           Universum

import qualified Pos.Explorer.Socket as PS
import qualified Pos.Explorer.Web.ClientTypes as CT
import qualified Pos.Explorer.Web.Error as CE

import           PSOptions (Args (..), getPSOptions)
import           PSTypes (psPosixTime)

main :: IO ()
main = do
    Args {..} <- getPSOptions
    writePSTypes
      bridgePath
      (buildBridge customBridge)
      [ mkSumType (Proxy @CT.CAddress)
      , mkSumType (Proxy @CT.CAddressSummary)
      , mkSumType (Proxy @CT.CBlockEntry)
      , mkSumType (Proxy @CT.CBlockSummary)
      , mkSumType (Proxy @CT.CAddressType)
      , mkSumType (Proxy @CT.CHash)
      , mkSumType (Proxy @CT.CNetworkAddress)
      , mkSumType (Proxy @CT.CTxBrief)
      , mkSumType (Proxy @CT.CTxEntry)
      , mkSumType (Proxy @CT.CTxId)
      , mkSumType (Proxy @CT.CTxSummary)
      , mkSumType (Proxy @CE.ExplorerError)
      , mkSumType (Proxy @CT.CCoin)
      , mkSumType (Proxy @PS.ClientEvent)
      , mkSumType (Proxy @PS.ServerEvent)
      , mkSumType (Proxy @PS.Subscription)
      , mkSumType (Proxy @CT.EpochIndex)
      , mkSumType (Proxy @CT.LocalSlotIndex)
      , mkSumType (Proxy @CT.CGenesisSummary)
      , mkSumType (Proxy @CT.CGenesisAddressInfo)
      , mkSumType (Proxy @CT.CAddressesFilter)
      ]
  where
      customBridge =
          defaultBridge     <|>
          posixTimeBridge   <|>
          wordBridge        <|>
          word8Bridge       <|>
          word16Bridge      <|>
          word32Bridge      <|>
          word64Bridge

posixTimeBridge :: BridgePart
posixTimeBridge = typeName ^== "NominalDiffTime" >> pure psPosixTime

wordBridge :: BridgePart
wordBridge = typeName ^== "Word" >> pure psInt

word8Bridge :: BridgePart
word8Bridge = typeName ^== "Word8" >> pure psInt

word16Bridge :: BridgePart
word16Bridge = typeName ^== "Word16" >> pure psInt

word32Bridge :: BridgePart
word32Bridge = typeName ^== "Word32" >> pure psInt

word64Bridge :: BridgePart
word64Bridge = typeName ^== "Word64" >> pure psInt

redpajama_set_name: RedPajamaGithub


text:
USAF Test Pilot School at Edwards AFB
A-10 AIRCREW TRAINING
C-130H MULTI-MISSION CREW TRAINER
F-16 SIMULATION
F-16 COLLISION AVOIDANCE/RISK REDUCTION
F-16 X-DTT
F-16 TRAINING SIMULATORS AT LUKE
T-1A CSO Training
ISR OPERATOR TASK TRAINER
USAF TEST PILOT SCHOOL
F-22 SIMULATOR
T25 SECT CSO
NASA T-38N TRAINER
MetaVR VRSG real-time rendering of two F-16 entities in flight over virtual Edwards Air Force Base terrain.
To prepare student pilots for flying the next generation of fighter aircraft, the USAF Test Pilot School (TPS) at Edwards Air Force Base, California, trains students with aviation simulators designed to teach current and advanced avionics concepts, including the current sensor capabilities of fourth and fifth generation aircraft. The sensors on the Avionics Familiarization Simulator, developed by ZedaSoft, include electro-optical (EO) targeting, Forward Looking Infrared Receiver (FLIR) technology, Synthetic Aperture Radar (SAR), and multiple sensor cockpit management techniques. ZedaSoft deployed their Portable Simulator Desktop (PSD) solution with MetaVR VRSG.
The simulator is configured with four VRSG channels, each running on a small form-factor 1U rackmount computer. The VRSG channels provide out-the-window view, radar ground map, and EO sensor simulation. The left channel generates EO or IR imagery concurrent with the out-the-window imagery and digitally transmits the imagery over the network to the multi-function display (MFD). The top channel generates VRSG Radar imagery concurrent with generating the out-the-window imagery. All channels are fully correlated to the Edwards AFB terrain and cultural database area.
Avionics Familiarization Simulator at the USAF Test Pilot School at Edwards AFB, with MetaVR VRSG out-the-window views and the sensor and radar views in the multi-function displays.
The Avionics Familiarization simulator is based on ZedaSoft's patented Container Based Architecture (CBA), which enables TPS student pilots to observe the avionics capabilities of different generations of aircraft by instantaneously switching from one aircraft type to another in the same scenario. Such observations are valuable for learning workload management techniques. The simulator includes a 24" touch-screen virtual instrument display, hands-on-controls, four 24" monitors for out-the-window viewing, a sensor channel, and all necessary computers housed in a single rolling case.
A virtual Helmet-Mounted Display (HMD) system provides students standard HMD symbology drawn within the VRSG out-the-window channels. This integrated visual scene symbology method is also used to overlay Heads-Up Display (HUD) symbology on the center out-the-window channel.
This symbology is rendered directly in the VRSG channels. The HMD symbology is oriented using the Intersense IS-900 head-tracking system, which is mounted on the student's headset.
F-16 cockpit multi-function displays with VRSG supporting the F-16 radar's ground map mode on the left, and the targeting pod's IR presentation on the right. Within each image, the radar and the targeting pod displays show the same point on the ground.
The F-16 radar supports field-of-view modes that let it zoom in on an area and provide a refined image. The NORM mode display is an angular sweep that one typically associates with radar, as shown on the left in the image directly above. The other modes zoom in on a patch of ground that's much smaller than the coverage shown by NORM mode. Similarly the targeting pod (shown on the right in both cockpit images) supports three field-of-view options.
MetaVR worked with ZedaSoft to put together a flexible system for plugin configuration. This system runs the targeting pod's IR in an off-screen window on the left out-the-window channel, and runs the radar simulation on the top center channel along with the out-the-window channel. ZedaSoft also implemented graphic overlays, which were integrated with VRSG in plug-in form. The graphic plugins include a HUD in the center channel, an emulated HMD in all four channels, and a variation of NASA's Highway-In-The-Sky (HITS) in all four channels.
This simulation system gives student pilots the opportunity to simulate their exact EO flight mission in advance of flying the mission in the actual aircraft.
ZedaSoft later delivered an upgrade in 2015 with a Remote Piloted Vehicle (RPV) mission console. ZedaSoft's Mockingbird Mission Systems Console Simulator connects the existing Avionics Familiarization simulator, which acts as the pilot station, to a mission console providing the RPV/UAS sensor operator with modern IR sensor views and controls. The Mockingbird simulator uses an additional VRSG channel to simulate IR sensor and SAR systems controlled through a modern RPA avionics interface that was developed by ZedaSoft.
All Avionics Familiarization Simulator images courtesy of ZedaSoft, Inc.
The US Air Force does not endorse MetaVR, ZedaSoft, or their product lines.
Physics-Based Real-Time Sensor Simulation
VRSG Radar Simulation


text:
Zelda Wii U Delayed... so what?
By LUDWIG VON KOOPA - Did anyone expect it to come out in 2015?
Last week, the world of The Legend of Zelda fans exploded: The long-awaited Nintendo Wii U iteration of the franchise (Wind Waker HD not counting) was DELAYED. Or, at least, no longer locked into a 2015 time-table. (In layman's terms, that means it's coming out after 2015.) Apparently, it was announced to come out in 2015 during The Game Awards and we didn't remember it from that event, but The Game Awards 2014 was a horrible waste of time anyway (to the point where I put the KoopaTV staff member whose idea it was to watch it on indefinite unpaid leave).
For more information, here is Eiji Aonuma, The Legend of Zelda producer.
So... He is basically allowing feature/scope-creep to direct the project, rather than sticking to the budget and time-table. On one hand, you can cheer to be able to eventually play "the ultimate Zelda game", but on the other hand, as the producer, it was Aonuma's job to NOT have this scope-creep be a thing.
For a reminder of what the producer is supposed to do, take another look at Masahiro Sakurai's New Years Resolution for 2014. (That he succeeded at.)
"Key phrase: Completion
Resolution: I resolve to complete development on Super Smash Bros. for Nintendo 3DS/Wii U and release it in 2014."
People who like to shamelessly parrot industry villains (such as Michael Pachter) will bring up Shigeru Miyamoto's infamous quote:
"A delayed game is eventually good, but a rushed game is forever bad."
This quote is just flat-out wrong. Miyamoto said it to justify his table-upending ways, but we all know and can name games that were delayed and bad. Miyamoto's quote is basically saying, "If a game is delayed, it will be a good game." Tell that to Duke Nukem Forever or Luigi's Mansion: Dark Moon or Too Human or The Order: 1886 or Choice: Texas (which was... okay) or any number of historical examples. And as an example of a great rushed game, look at Super Smash Bros. Melee. It's an exception to the rule and no way to make a videogame or run a project, but it still exists.
I'm not criticising the delay... because I expected it to happen. This type of thing usually happens to Zelda games anyway, most infamously The Legend of Zelda: Twilight Princess. And it's that particular example that has people worried that this Wii U game will not come out on Wii U at all... but will end up on the mysterious "NX" system. The one we still don't know anything about.
I'll explore that line of thinking a bit more and then comment on the NX.
This was supposed to be a GameCube game.
Nintendo had a variety of titles that were supposed to come out on the GameCube but were moved to the Wii, including Twilight Princess, Super Paper Mario, and Donkey Kong: Barrel Blast. The latter of those was supposed to be controlled using the DK Bongos, and the middle is pretty much a platformer that could've easily been controlled using a GameCube controller. They got moved due to lack of time and they brushed up against the end of the GameCube's life-cycle anyway. Maybe they got nudges from Iwata that the Wii needed more games near its launch window so "go ahead and just move the games over." Really, the only game that would have inherently benefitted from the GameCube's controls would be Donkey Kong: Barrel Blast, which was criticised on the Wii for its inferior Wiimote + Nunchuk replacement. Add that to the "games that were bad after being delayed" list. (And not really the GameCube but the DK Bongos.)
The Wii U is different. It has this whole second screen thing going on. For The Legend of Zelda on Wii U, they are having the whole world's map be on that second screen. There are probably some other things going on, too. If they were going to port it to the NX (whether it's a complete move or they release it on NX and Wii U like Twilight Princess) then they would have to put that map somewhere.
Nintendo sort of presented the NX as a "third pillar" (like the DS was supposed to be the third pillar to the GameCube and the Game Boy Advance, but we know how that turned out) type thing in their diagram of their ecosystem. It co-existed with the 3DS and Wii U. Do you think its controller will have a second screen? Or will it be radically different?
Whatever happens, if the NX is going to be suitable for a Wii U port, then it needs to share features with, or be able to workaround, the features of the Wii U. And the Wii U's features are pretty distinct.
The NX is going to have details announced next year as of 2015.
This makes it unlikely that Zelda on Wii U will not be on Wii U.
If details are merely announced in 2016 (and we can think E3 2016), then is it likely that the NX will be available to purchase in November 2016? ...Not exactly. It's probably coming out November 2017. I could easily be wrong about that, but I don't see the Wii U only being on the market for four years. It's doubtful (but possible) that the Wii U Legend of Zelda will be delayed past 2016 to 2017. You can have confidence it will be released on the Wii U. And if you don't like waiting for 2016, it's a good thing the Wii U has other awesome games coming out in 2015.
Oh, yeah, Nintendo also said E3 2015 will focus on titles coming out in 2015. See? I'll be able to list out those awesome games that aren't named Splatoon this June!
...So how many minutes are we going to have dedicated to Nintendo's new mobile games at E3?
E3 is in less than three months, and then KoopaTV will be able to live-react to seeing Nintendo's mobile games. It'll probably be entertaining to read, so stay tuned. Also, there is a Nintendo Direct tomorrow so you might even get live-reactions much sooner than E3.
The Nintendo E3 2015 really sucked.
Zelda Wii U is now being delayed again to 2017, with the NX to be launched in March 2017.
The Legend of Zelda on Wii U is now called The Legend of Zelda: Breath of the Wild.
The Legend of Zelda: Breath of the Wild will be releasing March 3, 2017, simultaneously for Wii U and Nintendo Switch. Which to get?
The Legend of Zelda: Breath of the Wild released on both Wii U and Nintendo Switch on March 3rd, 2017, to highly critical acclaim.
KoopaTV Loyalty Rewards Program!
By LUDWIG VON KOOPA - Indefinite gamification of a videogame website. Featuring prizes! A videogame website should be fun to play, righ...
Fire Emblem: Awakening Club Nintendo Code Scavenge...
ISIS Invasion of KoopaTV Universe
The Trail-Blazing, Brave Women of Sexy Poker
Gender Identity and Toads
George Zimmerman's taste in women: Mario fans?
Voice Acting of Defend Anita Sarkeesian
Miyamoto: Still Clueless on F-Zero; Still Should R...
Metal Gear Solid: The Review
Wait To Play... Ludwig likes it?!
Nintendo's Official Mobile Entrance
Removing the lid off retro nostalgia
KoopaTV's Live Reactions to Wil Wheaton Babbling a...
Happy Friday the 13th from KoopaTV!
Code Name S.T.E.A.M.? Get Ace Attorney on sale ins...
#IStandWithPhils
Mario: Racist Oppressor! Cow Hater!
Daylight Savings Time dooms the world
Now Introducing...the KoopaTV Store!
Free To Play...Station 4?!
Meme Run ran away off Wii U
Go ape with Donkey Kong Country! And Land!
KoopaTV and the February Fortunes


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Song Premiere: Megan Slankard - What It's Worth
The San Francisco based alternative folk rock artist, Megan Slankard is gearing up to release a new album entitled Running on Machinery, due out on May 19th. We're very excited to be able to premiere the title track from the record!
Running on Machinery is a power-packed folk track that tucks away its folk sensibilities deep beneath an outgoing, heavy alternative pop rock compositional style. If you listen closely enough, you can hear that the song still encompasses an acoustic guitar rhythm deep within it. Slankard's voice is strong and confident and we really enjoy that she took a chance with this track to do something that is not traditional. It doesn't matter what genre she decides to put herself under, Megan Slankard exhibits that she understands great music production that puts out a really strong final recording.
A lot of independent artists like to make awesome bedroom recordings, but that style isn't for everyone. Slankard put out a high quality studio recording that was produced by Alex Wong. However a Bay Area artist chooses to express themselves, we're all for it.
Megan Slankard
Texas King @ Drake Hotel
Pop enough to sing-a-long to, rock enough to jump around to, and just enough groove to soothe your soul to. Texas King, hailing from London Ontario, got the crowd enlivened during the CMW showcase at the Gladstone last week. With lush, sizzling guitar tones, raspy vocals, and an on point rhythm combo, these guys became an energetic delicacy to see perform live. With their catchy lyrics the crowd sings-a-long alone to, "Come Find Me". They're tight, greasy, and there's - without question - no shortage of dance moves. Head on out to The Drake Hotel @ 05/17 and see on hell of a show!-Courtney Chalapenko
Texas King EP by Texas King
Xiu Xiu Supports Timber Timbre at The Fillmore - 5/15
Xiu Xiu may be getting a little too big for the britches of The Deli Magazine San Francisco, but we'd like to give them a shout anyway. It is important for us to continue to highlight this local music duo because they are an emerging experimental art rock powerhouse who will probably never get the mainstream or even indie media coverage they deserve due to their highly off kilter and at times, grotesque art and music style.
This Friday (May 15th), Xiu Xiu will be supporting the soulful Canadian rock band, Timber Timbre at The Fillmore in San Francisco. Timber Timbre sounds like a nice blend of The Black Angels and The Black Keys. They sound good and they sound cool (like James Dean cool), so experiencing their live show after Xiu Xiu's out of the box performance will allow you to let your hair down and dance and shuffle around a bit. Don't miss this show!
The Dead Bees
Music is all about the song, and The Dead Bees live by them. Playing genre-blurring, old fashioned rock n' roll, they would be home on just about any stage. Delicate harmony, laid back rhythm section, stripped down electric guitars and bare-bones melody, they don't overdo anything because they don't need to. Somewhere between the Killers and Joel Plaskett is where these Ottawa-dwelling boys live. Their song Cannonball from their second album "2" is the perfect soundtrack to a weekend at the cottage, or skipping work and just hitting the road. Between the folk-lectric guitar lines, and the lovely light chorus line, it'll get you to forget about your woes and just sing along. With 2 records under their belt, they're well on their way to finishing a third, to be named and then released, hopefully in that order, at some point in 2015.-Cody Wright


AssurExperts has designed a special plan for owners of fifth-wheel trailers.
Head on down the highway without a care; we'll take care of everything. A breakdown, accident, or theft? The AssurExperts insurance plan is the complete solution for any fifth-wheel owner.
And that's not counting the attentive service of your AssurExperts broker!


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Home » Resources » Webinars » Playing to Win with Intelligent Content
Playing to Win with Intelligent Content
Featuring Noz Urbina
A core challenge of content marketing is being able to create topical content and evergreen content, at a high level of quality, and at scale. Using examples from Banking, Manufacturing and Pharmaceuticals, we'll see how intelligent content bridges the divide between content that's about the latest hot topics and content that's useful and interesting to our audience over the longer term or even indefinitely.
Learn how organisations have rethought their content to allow assets to nurture leads with up-to-the-minute fresh content, while still making those same assets deliver longer term ROI
Learn to break out of the struggling of justifying creating content that goes through a short commission-publish-forget cycle
Get practical tips for getting started today
NOZ URBINA
Founder, Urbina Consulting
Noz Urbina is a globally recognised leader in the field of content strategy and customer experience consultancy who can effectively bridge organisational and user goals. He's well known as a pioneer in customer journey mapping and adaptive content modelling for delivering personalised, contextually relevant content experiences in an omnichannel environment. He is co-author of the book "Content Strategy: Connecting the dots between business, brand, and benefits", and lecturer at the University of Applied Sciences, Graz, Graz, Masters Programme in content strategy.
MATT DION
CEO, Mintent
Matt is the CEO of Mintent (www.getmintent.com), a content marketing automation software company. With a career spanning 20+ years, Matt is a consummate thought leader in the areas of digital marketing, experience-driven commerce, commerce strategy, marketing, and business development. His unique insights on how executives can build digitally-enhanced experiences that unlock new value have been featured in TechCrunch, CMSWire, Huffington Post, Internet Retailer, Get Elastic ecommerce blog, Retail Online Integration, and Chain Store Age. Matt is also a much sought-after speaker, having presented at Adobe Summit, Enterprise World, Digital Entertainment World, Luxury Interactive, Digital Hollywood, and others.


A hand-carved wood ski sculpture signals the entrance to the Blue Mountain Village playground and connects this summer space to Blue Mountain's winter ski culture. In the initial meeting with the client, an active and creative play space was envisioned as an addition to the village daycare. The design features play elements for younger and older children. The largest element is the senior log jam™ which offers a fun and challenging play experience. To the west is a colourful junior timber climber and an extra wide slide. Kids can choose endless routes to climb up the timber climber to go down the slide or use the gentle grassy slope at the back. A sand play area at the back offers sensory play under the deciduous shade trees.
Connected by an asphalt pathway, the amphitheater is located just east of the Blue Mountain Village resort. Two tiers of boulder seating form the amphitheater, overlooking Mill Pond. An armour stone staircase ascends between the tiers of seating, and interlock pavers form the space at the top and bottom of the amphitheater.


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Q: mysql_connect not talking to the right host I have the following issue. We moved the mysql-server to a different machine and so the ip changed but somehow the scripts on the syslog machine won't talk to the new server.
I stripped it down to the following code to simulate the problem
my script
$link = mysql_connect("mysql.domain.tld", "<user>", "<pass>");
if (!$link) {
    die('Could not connect: ' . mysql_error());
}
echo 'Connected successfully';

when i then execute my script it returns
me@syslog:~# php test.php
Could not connect: Access denied for user '<user>'@'10.254.237.42' (using password: YES)

But when i do a ping
me@syslog:~# ping -c 1 mysql.domain.tld
PING mysql.domain.tld (10.254.235.31) 56(84) bytes of data.

it resolves to a totally different ip (but correct ip)
So i'm currently in "wait-WHUT!!!" mode as i can't find out why it's connecting to the wrong machine. So my question is there a way to let mysql_connect always connect to a fixed ip/host in a php.ini or something?

A: The user you are trying to login as does not have permissions to connect from that host, in this case 10.254.237.42. You need to add that as a valid host for the user <user>.
Modify this and execute on the mySQL machine:
GRANT ALL PRIVILEGES ON *.* TO  'USERNAME'@'IP'  IDENTIFIED  BY  'PASSWORD';

That is, you might not want to give the user ALL priviliges. Restrict it to SELECT, INSERT, UPDATE, DELETE, etc. on a specific database...
It might be that you can omit the IDENTIFIED BY part.
When you've done this command you need to run FLUSH PRIVILEGES when logged in.

A: If you see this error the most common reason is that you have privileges assigned for <user>@localhost which isn't true any more and you have to grant the same privileges to <user>@10.254.237.42.

redpajama_set_name: RedPajamaStackExchange


Today's temperatures will stay between the mid 50s and mid 60s across our region. Cloudy skies will stick around for the day with a few breaks possible in the west.
We may experience some heavier rainfall Friday and Friday night however the heaviest amounts between, 1-2 inches, will occur along and southeast of a Sulphur Spring-Corsicana-Cameron line. This could change before Friday, continue to stay alert for more weather alerts as Friday approaches.
At the moment, the forecast shows a strong upper-level storm system bringing increasing chances for showers and thunderstorms late Friday afternoon through Friday night.
A few storms could become strong with hail and gusty winds, though an isolated sever storm with quarter-sized hail isn't out of the question. Temperatures will drop rapidly from northwest to southeast after midnight as an arctic front surges south into the area.
The weekend is full of winter with a strong early weekend system bringing blustery and very cold conditions Saturday night into Sunday morning.
Lows falling through the 20s will combine with the gusty north winds for wind chills in the single digits north, teens south early Sunday morning.


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The Myth-Makers | Jeremy Blincoe and Becc Orszag
« New Earths | Adam Norton
The Other | Lynda Draper »
The Myth-Makers, Jeremy Blincoe & Becc Orszag, installation shot
Jeremy Blincoe, Spirit Line, 2016, pigment ink jet print, 100x147.98cm, ed of 10
Becc Ország, Announce your kingdom (you can live forever), 2017, graphite pencil and 24kt gold leaf on paper, 52x75cm
Jeremy Blincoe, Necessary Evil, 2016, duratran/light box, 100x111.83cm, ed of 6
Becc Ország, Fragmentation of mind (be still/withdraw), 2017, graphite pencil and 24kt gold leaf on paper, 52x75cm
2.	Jeremy Blincoe, Detachment, 2016, pigment ink jet print, 100x151cm, ed of 10
Becc Ország, Witness (seduction), 2017, graphite pencil and 24kt gold leaf on paper, 37x51cm
Becc Ország, Hope (align yourself with me), 2017, graphite pencil and 24kt gold leaf on paper, 52x75cm
6.	Jeremy Blincoe, Necessary Evil, 2016, duratran/light box, 100x1112cm, ed of 6
Becc Orzsag, The Source of All Things (Birth of the Rivers), 2016, graphite pencil, carbon pencil and 24kt gold leaf on paper, 76x105cm
Jeremy Blincoe, Burden of Tradition, 2016, looped video, 2:00 min, edition of 3
The making of worlds just seems to come naturally to some artists. Constrained or frustrated by the 'real' world, they create their own where they can investigate and commentate on everything from the environment to religion to the structures of society itself without the constraints of the everyday. They are makers of myths.
Becc Ország is an illusionist par excellence. What we may assume are straightforward sketches of existing landscapes are in fact the result of agonizing foraging to uncover numerous elements which are used to create collage 'sketches' to utilise as the ground work for her drawn fictitious worlds. While upon a first glimpse one assumes a simple and beatific landscape, it does not take long to realise there is something 'off' about this world. She calls these Immaculate Landscapes, but they are landscapes presented via Rorschach structuring, as if allowing us a choice of directions to travel in. This almost schizophrenic, labia-like tableaux act like altarpieces for an alternate church allowing us a choice of worlds to choose from.
She states that these dreamscapes explore; "the fine line between Utopic and Dystopic ideals by investigating political, religious and social belief systems, drawing upon an interest in the universal longing for a heaven or utopic land, addressing man's inherent need to be lead and belong, to idolise and revere, and it's inevitable shaping of us as individuals and a society." There is a sense of grandeur at play in her works, more than a hint of the sublime but with the added frisson of the sacrilegious. Her alchemical process and resulting duplications or doubling up of imagery create both contemplation and delightful disorientation in the viewer and a world where new myths can be born.
Born in New Zealand and based in Melbourne, Jeremy Blincoe studied photography at Massey University in Wellington and went on to hone his craft via advertising photography. The patina of advertising aesthetics remains; he is a bravura technician and perfectionist when it comes to composition, but that is where the influence comes to an end: In fact Blincoe's interests are the antithesis of those of advertising. Contemplating his subjects, his lighting and his colouration, one becomes immersed in a distinctive world-view saturated with that most dangerous of terms; 'spirituality.'
His works are inevitably set at dusk, that non-time between light and dark, the interzone between wakefulness and slumber where the imagination tends to wander, creating chimera from shadows. Set in the Victorian wilderness, he drapes his actors in garb that he himself designs, creating a sense of arcane ritual that give one pause. However the real 'stars' of these fabulous tableaux are in fact the settings: Regardless of the activities undertaken, with their hints of arcane religious ritual, it is nature itself that dominates.
Blincoe titled this series 'The Myth of Progress.' It is unfortunately an apt title, for the word 'progress' suggests improvements or developments, a 'myth' indeed when one begins to take for granted a world in which the very climate seems hell bent on global devastation due to human indifference to the world in which it lives.
– Dr. Ashley Crawford
2017, Becc Orszag, Exhibition, Jeremy Blincoe


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MADA demands freedom for Palestine journalists
PNN – Palestine News Network -29.08.11 – 14:57
The Palestinian Centre for Development and Media Freedoms (MADA) has condemned the continued incarceration of five Palestinian journalists by Israeli authorities.
The five journalists come from across the West Bank and work for a wide variety of Arab media agencies. Their names are: Walid Khalid ('Palestine' newspaper), Nawaf Al-Amer ('Al-Quds' television), Samer Allawi ('Al-Jazeera', a satellite news channel), Osaid Amarneh ('Al-Aqsa' television) and Amer Abu Arafeh ('Shab' news agency).
Two of the men, Khalid and Al-Amer, have been sentenced to administrative detention whilst Allawi, who was the head of Al-Jazeera's Afghanistan Bureau before his arrest on 9th August, has yet to be charged.
In its statement, MADA has called for the immediate release of all the journalists, describing their imprisonment as part of an 'enduring disregard for international human rights law in the occupied Palestinian territories'.
'MADA demands the immediate release of these unlawfully detained journalists and additionally demands the international community in its capacity in formal human rights institutions [sic] and the bodies of the United Nations exercise [sic] real pressure on the Israeli government to expedite their release.'
Israel, israeli, Journalist, press, Prison, Rights
Amer Abu Arafeh, demands, freedom, journalists, MADA, media, Nawaf al-Amer, Osaid Amarneh, palestine, photographers, Press, Samer Allawi, Walid khalid
Police: Palestinian run over by settler car in Al-Khalil
Israel boosts military presence on borders with Egypt, Gaza


PALM BEACH GARDENS, Fla. – More and more golfers are expected to tee it forward and have more fun while playing golf this summer thanks to the support of The PGA of America (PGA) and United States Golf Association (USGA). Initially introduced for a two-week period in 2011, TEE IT FORWARD, which encourages golfers to have more fun by playing from tees that better align with their ability, is now a year-round initiative with a special focus in June.
During the month, more than 2,400 registered facilities around the country will be actively promoting playing from new tees and hosting special events designed to encourage golfers to play from shorter distances. Participating facilities and more information can be found at PlayGolfAmerica.com/TEEITFORWARD.
Discussion on the topic of TEE IT FORWARD continues to be so prevalent that The PGA and USGA have created a sweepstakes for those who share their comments after teeing it forward. Between now and July 31, 2012, golfers can go to PlayGolfAmerica.com/TEEITFORWARD to post their comments and be entered for a chance to win the grand prize of two weekly grounds tickets for the 2012 Ryder Cup at Medinah Country Club. First runner-up receives two tickets to the 2013 U.S. Open at Merion Golf Club and second runner-up wins two tickets to the 2013 PGA Championship at Oak Hill Country Club.
In addition to sharing comments on the Play Golf America website, The PGA and USGA are also asking golfers to tweet about their TEE IT FORWARD experiences (#teeitforward) through a special Twitter page, twitter.TEEITFORWARD.org.
During the 2011 two-week promotion, more than 1,900 golf courses had an average of 123 golfers per facility (nearly 237,000 nationwide) playing from forward tees. A survey of more than 3,000 consumers who experienced the program showed that 70 percent found their round of golf more enjoyable and more than 90 percent said they would recommend TEE IT FORWARD to a friend. The survey also found nearly 50 percent of respondents believed the program helped them play faster.
Golf legend Jack Nicklaus, PGA TOUR player Dustin Johnson and LPGA Tour player Paula Creamer serve as spokespersons for TEE IT FORWARD.
The USGA conducts the U.S. Open, U.S. Women's Open and U.S. Senior Open, as well as 10 national amateur championships, two state team championships and international matches. Together with The R&A, the USGA governs the game worldwide, jointly administering the Rules of Golf, Rules of Amateur Status, Equipment Standards and World Amateur Golf Rankings. The USGA's working jurisdiction comprises the United States, its territories and Mexico. The USGA is a global leader in the development and support of sustainable golf course management practices. It serves as a primary steward for the game's history and funds an ongoing "For the Good of the Game" charitable giving program. Additionally, the USGA's Course Rating and Handicap systems are used on six continents in more than 50 countries. For more information about the USGA, visit www.usga.org <http://www.usga.org>.
This is a great Blog. I love reading about others passion for the game.
If you would, could you go to my Blog and read around?
I am just starting this blogging stuff and am trying to build a following.


text:
<?php

declare(strict_types=1);

namespace Doctrine\Tests\Models\OneToOneInverseSideLoad;

use Doctrine\ORM\Annotation as ORM;

/**
 * @ORM\Entity()
 * @ORM\Table(name="one_to_one_inverse_side_load_inverse")
 */
class InverseSide
{
    /**
     * @ORM\Id()
     * @ORM\Column(type="string")
     * @ORM\GeneratedValue(strategy="NONE")
     */
    public $id;

    /** @ORM\OneToOne(targetEntity=OwningSide::class, mappedBy="inverse") */
    public $owning;
}


text:
Q: Querying multiple meta_keys in Wordpress SQL query Here's my Query... I'm looking to narrow this query down to users of one specific role ("meta_key = 'wp_capabilities' AND meta_value = 'employee'")...how do I add that additional conditional to this string?
$get_users = "SELECT * FROM $wpdb->users
WHERE ID = ANY (
SELECT user_id FROM $wpdb->usermeta
WHERE meta_key = '$meta_key'
AND meta_value LIKE '%$search%'
) ORDER BY user_nicename ASC LIMIT 10000";

Thanks in advance...

A: WordPress Provides a native functions to query these kind of things very easily like WP_User_Query
$args = array(
    'meta_query' => array(
        'relation' => 'AND',
        array(
            'key'     => $meta_key1,
            'value'   => $search1,
            'compare' => 'LIKE'
        ),
        array(
            'key'     => $meta_key2,
            'value'   => $search2,
            'compare' => '='
        )
    )
 );
$user_query = new WP_User_Query( $args );


America's first black millionaires are fascinating examples of business and personal triumph, yet their stories have largely gone untold—until now. Black Fortunes showcases six individuals born into slavery who went on to become titans of American industry. As told here in unforgettable detail, their journeys toward financial success are a long overdue addition to the historical record, as well as a timeless reminder of the power of ingenuity, grit, and entrepreneurship.


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Broadtube Music Network
Clem Lo – French Rap
Kolade Olamide
Broadtube Music Channel, Clem Lo, Clem Lo – French Rap, DownLo Records, Hip Hop, Rap
ARTIST: Clem Lo
SONG TITLE: French Rap
ALBUM TITLE: FRE(n)ch
Clem Lo was born and raised in the south of Paris.
He got his first musical influences from there.
In his teenage hood, independent French bands like 1995 or L'entourage became huge in France and inspired him to start rapping at the age of 13.
Coming from a musical family, Clem worked in the studio with his father, his biggest mentor and influence at the age of 5.
His first instrument was drums but he eventually played keys with his grandmother at 6.
When he met the artist Areno Jazz in 2012, Clem decided that he wanted to make a career in rap.
At the age of 19, Clem received a scholarship to study at Berklee College of Music and this experience changed his life.
Independent, but not alone, Clem has collaborated with more than ten artists in the last three years in the USA, including Mosie, GiantQueen, Lilacs, Goldspace and Lick Neon.
His newest EP FRE(n)ch is an important one as it is mostly in French and pushes both the linguistic and musical boundaries of today's Hip-Hop.
The EP is a reflection on the millennials and their desperate need to exist through social media, and the issues and violence…
Tell us how you build up the tune for this song.
I got back from work and I had been listening to Asap Rocky…
I had his sororities on my mind and I sat down to make a beat. I started hearing this line: "French rap… fresh trap" and thought there weren't any French rappers that openly represent French trap, as its own thing. So I decided to make a whole flex song about French rap.
Tell us the best means of becoming a famous artist and selling more records.
The one and only requirement to me is an unconditional love and passion for music.
If you wake up every morning and the first thing you think of is making music… you should probably think about a career in music.
No matter how much money you make from music – you have to dedicate as much of your time as possible.
Then there is networking… You have to like people, meet people, and share your love for music with them. And stuff will happen that you never thought was possible.
Tell us how fans are reacting to your music.
So far people have been very enthusiast and they want more French rap!
Explain how to deal with fear on stage.
To be confident on stage you have to be hella prepared. If you rehearse to the point you have no doubts about your ability to do your set front to bottom, then your amount of stress will be reduced.
People with stage fright, the only advice I have is to force yourself to perform as much as you can until this irrational fear leaves your body.
Tell us your point of view on the quality of production of today's songs to old songs and point out what you think has changed.
I think people in the industry tend to appreciate a clean sound nowadays. – Meaning, flawless production and mix, with very digital sounding songs but also few elements in the song.
Back in the days it was more about big orchestration and longer songs (Quincy Jones type production). Also music used to have more dynamics than today and the early 21st century.
But music consumers still like the raw music out there. That's why some artists still provide a very DIY, raw production (Mac DeMarco or Kiefer for example).
Tell us any interesting experience in your music career that is significant.
Moving to the United States is definitely a highlight of my career. I have changed my way of doing music and I have experienced a lot more since I am here.
I played with a lot of bands, including Lick Neon, Lo Artiz, and GiantQueen and I have been playing my music in a lot of different cities.
My favorite experience was to go to Detroit. We went to jam one night at this jazz bar called Bert's market place. My homie Wada went to play sax and he killed it so they asked us to come the next week to play a gig. It was the best Jazz show I played on drums in my life. The people of Detroit are very welcoming and I loved having that opportunity.
Tell us how you come across the lyrics of this song.
My writing process is hard to describe but the way I started getting to the lyrics of this song was by just mumbling and scatting some melodic and rhythmic ideas. Then it was just a matter of time and reflection for the words to stick to the rhythms.
Tell us your best means of expressing yourself.
Rap, Poetry, Drums, Bass, Keys…. Music is the best way of expressing myself.
Tell us your opinion on using music to deliberate on issues affecting people like corruption, immoralities, politics and religion.
I think music can change people's way of living and thinking. The stories you can tell through music can touch anyone. It's very powerful as it is relatable.
Music is a healer, but also a catalyst for change. Music is informative, but it can also be used for wrong purposes. Many times in history people used music as a tool for propaganda and spreading dangerous ideologies.
In the end, I think of music as a great platform to debate and say what you think, what you truly want to express. By speaking your truth you can touch people in a very special and powerful way.
Discuss how you plan to create a timeless music that your fans can cherish forever.
By speaking TO them and FOR them with what I consider to be the undiluted truth.
I speak to my audience to challenge their thinking. I want people to listen to my music in 50 years and get something out of it.
I grow with my music and I think other people can grow with me.
List the names of individuals you can point out as legends and state your reasons.
Muhammad Ali: A huge inspiration to me. His fearlessness, hustle, and fights are constantly reminding me of how I have to run towards my goals, and be a good person.
J Dilla: The G.O.A.T.
Miles Davis: The one and only. Miles' music transported me in twenty different dimensions.
His music will never die and the people that he touched with his sound will never be the same.
I have not been the same since I heard him play. His unwillingness to be behind his time and constant effort to make some new sounding music is a huge part of what made me who I am.
Tell us your viewpoint on discriminating.
It's ignorance. People who discriminate are ignorant.
Education at home and in school changes the way a human being behaves towards another.
If we teach our kids to love one another and see a brother and a sister in anyone, it will be the most important thing they'll learn.
The education system is lacking an actual understanding of history and the truth is hard to find in a lot of school books.
A lot of media spread fake news and kids spend more time on their phone absorbing BS than they spend time trying to see the world with their own eyes.
It's dangerous because this is how people become secluded and stuck in extreme beliefs.
The evidence is in front of our eyes with the current administration here, in the US, in Brazil and in European countries voting for far right leaders.
Tell us your favourite books and state your reason.
Les Fleurs du mal by Charles Baudelaire
The deepest and richest poetry book I have read. It is very personal too; you can follow the poet's state of mind throughout years. His prose is amazing.
La Republique by Plato
The best philosophy book I have read. It opened doors to understanding the art of rhetoric and other important concepts.
Tell us what triggers your creativity.
Life and anything that surrounds me – I can be on vacation and record a sound I like, then go home and make music with it.
I can read a book and get inspired to write a song.
Everything is art to me so I am always making stuff.
Tell us how you generate musical ideas for your composition.
I make a drum loop, to set the tempo I am feeling, and then I start messing around with my keys, or my bass, sometimes, but less often, I will start a song with my guitar. (I suck at guitar that's why it's less common).
Tell us your greatest song and state the reason.
I don't have one but I will say 'So What' by Miles Davis on the Kind of Blue album. It's almost unbeatable… The recording has this magic that never leaves. No matter how many times I listen to it.
Tell us how you compose your song.
Ableton is my favorite software to make music with.
Elaborate on the song.
French Rap is a big up to… French Rap. It's talking about how far we can take French Rap, and how ambitious I am to bring the music to the top of the charts one day.
I wanted to feature at least one French song that I could put in the club in any country and that everyone would be able to sing the hook and go totally nuts on it.
Elaborate on your artist name and the title of the album.
Clem Lo is a short and easy for people to read and say my name right. My real name is Clement Leau. Leau means water in French but Clem Water sounded wack so I used the same sonority than Leau in French which sounds like "Lo". Everyone calls me Clem and not Clement so Clem Lo was an obvious choice for me.
The EP is called French because it's my first integral EP in French. Usually I rap in both English and French.
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text:
А́ндрос (, також Андрон) — персонаж давньогрецької міфології, син Анія і Доріппи.

Його батька Анія його батько Аполлон навчив мистецтву передбачення.

Ім'я Андроса носить один з кікладських островів і місто на ньому.

Джерела
 Словник античної міфології. — : Наукова думка, 1985. — 236 сторінок.
 А. П. Кондрашов. Кто есть кто в мифологии Древней Греции и Рима. 1738 героев и мифов. РИПОЛ классик. Москва. 2016. ISBN 978-5-386-09554-3

Персонажі давньогрецьких міфів

redpajama_set_name: RedPajamaWikipedia


text:
CAFTA Brings Immigration Debate, Local Enforcement Tactics Struck Down
By Julia Gelatt, Megan Davy
Policy Beat In Brief...
CAFTA Passes, Immigration Effects Debated
President Bush signed the Central American Free Trade Agreement (CAFTA) on August 2 after hard fought battles to pass the bill in both houses of Congress. Both proponents and critics of the agreement had used CAFTA's predicted immigration effects in support of their arguments. CAFTA stipulates the rules for the free movement of goods and services between the U.S., Costa Rica, the Dominican Republic, El Salvador, Guatemala, Honduras, and Nicaragua.
Unlike previous hemispheric free trade agreements (including the North American Free Trade Agreement (NAFTA) and the U.S.-Chile Free Trade Agreement), CAFTA does not include any explicit immigration provisions. Both NAFTA countries and Chile enjoy special professional worker visa policies.
However, the real immigration debate centers on the issue of unauthorized migration. In both the NAFTA and CAFTA debates, proponents argued that by bolstering the local economy through free trade, workers are less likely to migrate to the United States in search of jobs.
President Bush stated when he sent the accord to Congress that, "If you're concerned about immigration to this country, then you must understand that CAFTA and the benefits of CAFTA will help create new opportunity in Central American countries, which will mean someone will be able to find good work at home, somebody will be able to provide for their family at home, as opposed to having to make the long trip to the United States. CAFTA is good immigration policy, as well as good trade policy."
Critics argue that the evidence from NAFTA does not necessarily support this position. The unauthorized immigrant population in the U.S. more than doubled between 1990 and 2000, with most of that growth after 1994 when NAFTA came into effect. A widely discussed model predicted that NAFTA would create a "migration hump" — with immigration increasing in the short run and subsequently decreasing.
However, the data available on Mexico-U.S. migration flows, from the U.S. Census Bureau's Current Population Survey, presents an unclear picture of whether this "hump" actually materialized, particularly considering that other factors — such as Mexico's 1994 financial crisis, the restructuring of the Mexican economy (a continuation of policies enacted prior to NAFTA), Mexican unemployment, and a strong U.S. economy — may have contributed to increased unauthorized migration since 1994. The effects of September 11 and the U.S. economic downturn in 2001 have likely influenced the subsequent decrease in migration flows.
Predictions of CAFTA's immigration effects range widely. Some experts argue that the increased interaction and exchange between countries brought by free trade agreements creates transnational ties that foster increased migration.
Other experts, such as economist Joseph Stiglitz and Trade Policy Advisor Jon Huenemann, argue that CAFTA probably will not have big immigration implications.
Migration flows from CAFTA countries have fluctuated in the past (in contrast to the steady increase seen from Mexico) due to factors related to political instability, civil violence, and natural disasters, suggesting that migration will continue to stem from economic and political events not necessarily related to the new accord.
To read the full text of the DR-CAFTA agreement, click here.
To read an Inter-American Dialogue Report on CAFTA's possible immigration effects, click here.
Local Immigration Enforcement Tactics Ruled Unconstitutional
A New Hampshire judge ruled on August 12 that local police efforts to control illegal immigration through criminal trespassing charges were unconstitutional.
The police departments of New Ipswich and Hudson, NH received national attention for charging at least nine unauthorized immigrants, mostly Mexican, of criminal trespassing. Police issued the charges after pulling over immigrants in routine traffic stops.
The New Hampshire trespassing law says that a person is guilty "if, knowing that he is not licensed or privileged to do so, he enters or remains in any place." The citations included a $1,000 fine, but not a prison sentence for a conviction. The officers said that their actions were not intended to facilitate deportation of the immigrants, only to protect the local citizens.
The police chiefs of the two localities say they began using the criminal trespassing charge due to frustration that federal authorities were not doing enough to enforce immigration law. Some police departments in other parts of the country were considering emulating the measures if upheld in New Hampshire courts.
Judge L. Phillips Runyon III of the Jaffrey/Peterborough District Court stated in his decision that such actions were unconstitutional because Congress intended for immigration enforcement to be covered exclusively by federal law.
However, he pointed out that federal legislation does allow local police to be trained as "deputies" of the Immigration and Customs Enforcement agency (ICE) to supplement enforcement of federal immigration laws.
To read the judge's ruling, click here.
Study Says Immigrants Receive Half the Health Care of Native Born
Immigrants, regardless of legal status, age, or insurance coverage, receive on average half of the health care services received by native-born Americans as measured by health care spending, according to a study published by the American Journal of Public Health.
On average, immigrants receive $1,139 worth of health care services a year, compared to $2,564 received by native-born Americans. Native-born Latinos spent $1,870, and foreign-born Latinos only $962 on health care services.
Uninsured or publicly insured immigrants — those blamed by some for imposing large public healthcare costs — spent 44 percent less on healthcare than U.S.-born persons who were publicly insured through Medicare, Medicaid, Tricare, or other government programs.
The study also found that immigrant children visited the doctor fewer times, took less medicine, and made fewer trips to the emergency room than U.S.-born children. In addition, 74 percent less was spent per capita on their healthcare. Their emergency trips also cost nearly three times as much as those for nonimmigrant children, which the authors believe suggests immigrant families missed regular checkups and waited until conditions had worsened before seeking care.
The study was based on data from 21,241 people in the Agency for Healthcare Research and Quality's 1998 Medical Expenditure Panel Survey, which is the most recent data available.
To view an abstract of the report on immigrants' healthcare expenditures, click here.
Medicaid Checks on Immigration Status
Many states do not thoroughly check the immigration status of applicants for Medicaid despite a 1996 law limiting Medicaid access to U.S. citizens, nationals, and qualified aliens, according to a report by the Office of the Inspector General of the Department of Health and Human Services.
The Centers for Medicare & Medicaid Services (CMS) allows states to accept self-declarations of citizenship in determining eligibility for Medicaid in order to accelerate the application process. Of the 47 states accepting self declarations, 44 require evidence to back up claims of citizenship if staff have reason to question someone's declaration.
However, the Inspector General's study found that only 20 of the 47 states conducted quality control activities to verify statements of citizenship. Of the 11 states requiring, or sometimes requiring documentation to qualify, four accept documentation not accepted by CMS or the Social Security Administration.
The report did not examine the extent to which non-citizens might be exploiting the weakness in the verification system, but only the potential for such abuse.
To view the Inspector General's report, click here.
Policy Beat in Brief:
H-1B Visa Quota. Officials from U.S. Citizenship and Immigration Services (USCIS) announced on August 12 that they would not accept any applications for H-1B visas for high-tech and specialty workers filed after August 10, as they had already received enough visas to fill the 2006 quota. The cutoff came more than a month earlier than last year. Current laws allow for 65,000 H-1B visas each fiscal year for foreigners in specialty professions, such as scientists, engineers, and computer programmers. However, USCIS is accepting applications for two special categories of H-1B visas: the additional 20,000 visas set aside by Congress in the H-1B Visa Reform Act of 2004 for foreign applicants with U.S. master's or higher degrees, and the visas for foreign workers employed by universities or certain nonprofit and government organizations, which are not counted in the annual cap.
Electronic Passports. The United States will begin issuing passports with electronic computer chips beginning in December 2005, according to an announcement by the State Department on August 9. The chip will hold the same information already contained in the passport, including the holder's name, date and place of birth, gender, dates of passport issuance and expiration, passport number, and photo. "Anti-skimming" technology will prevent unauthorized access to the chip's contents. Current plans call for all U.S. passport agencies to issue electronic passports by October 2006.
Radio Frequency IDs. The Department of Homeland Security (DHS) implemented the next phase of US-VISIT on August 4, initializing the use of Radio Frequency Identification (RFID) technology at five land ports of entry. US-VISIT is a tracking system intended to verify and record the identity of U.S. visitors entering and leaving the country. The new technology is intended to expedite the verification process. Under the pilot radio frequency program, border crossers will carry RFID tags embedded in Customs and Border Protection (CBP) paper Forms I-94A — the standard arrival and departure record issued at ports of entry.
New Immigration Data. The Office of Immigration Statistics has released two new sets of data with information on the number of immigrant arrivals and adjustments in fiscal year 2004, and the number of foreign nationals naturalized in 2004. These new reports provide statistics on the characteristics of arrivals and naturalizations separated by country of birth, state, or metropolitan area.
TPS Extension. The U.S. Citizenship and Immigration Services (USCIS) announced in late July that Somalis with Temporary Protected Status (TPS) may register for a 12-month extension. The extension will authorize those eligible to continue living and working in the U.S. until September 17, 2006. USCIS is issuing the extension based on the continuation of "extraordinary and temporary" conditions in Somalia. The State Department agreed in 1999 to admit as many as 12,000 Somali Bantu from camps along the Somali-Kenyan border; the refugees began arriving in spring 2003.
Lawsuit Against Arizona Proposition 200. A three-judge panel of the U.S. 9th Circuit Court of Appeals in San Francisco dismissed a lawsuit challenging the constitutionality of Arizona Proposition 200, which limits undocumented immigrants' access to some public benefits. The judges ruled that the plaintiffs, including undocumented immigrants, a firefighter, and a state employee, did not demonstrate that they had been injured by the law's implementation, and therefore did not have the right to sue.
GAO Reports. Provisions in Congressional Appropriations Acts that prevent the Border Patrol from spending funds on permanent highway checkpoints along the Arizona-Mexico border have caused a "substantial drop" in arrests of undocumented immigrants, according to a recent report by the Government Accountability Office (GAO). The fiscal year 2003 and 2004 Appropriations Acts mandated that checkpoints be relocated at least once every seven days along the 260-mile stretch of border in the Border Patrol's Tucson sector. The GAO recommended that Customs and Border Protection (CBP) develop performance measures for the productivity and effectiveness of border checkpoints, and include the resulting information and ideas for possible improvements in CBP's Performance and Annual Report.
A separate GAO report found that on average, CBP processed international airline passengers within 45 minutes, but that in some cases, CBP recorded wait times as long as five hours. In 15 of the 20 airports for which CBP recorded wait times, there were multiple instances in which wait times exceeded one hour. The GAO recommended that CBP continue to develop flexibility in its staffing model to create the most efficient inspection processes, and suggested that CBP develop milestones for the completion of the One Face at the Border (OFAB) training program, which cross-trains inspectors in customs, immigration, and agricultural inspections.
A third GAO study reported that Visa Security Officers (VSOs) in Saudi Arabia strengthened visa security by offering their law enforcement and immigration experience, and that they were able to access law enforcement databases not readily available to consular officers. However, the requirement that VSOs review every visa application limits their ability to provide other fraud prevention and detection training. The GAO recommended that the Department of Homeland Security (DHS) develop a strategic plan to guide the operations of the Visa Security Program in Saudi Arabia and the expansion of the VSO program to other embassies and consulates, and that Congress consider amending the requirement that officers review all visa applications in Saudi Arabia.
To view the USCIS statement on the H-1B cap, click here.
To view the State Department press release on electronic passports, click here.
To view a press release and fact sheet from DHS on the use of Radio Frequency IDs, click here.
To connect to the Office of Immigration Statistics reports, click here.
To view the DHS press release on the TPS extension for Somalis, click here.
To view the court's decision on Proposition 200, click here.
To view the GAO report on mobile checkpoints in Arizona, click here.
To view the GAO report on wait times at international airports, click here.
To view the GAO report on Visa Security Officers, click here.
Megan Davy is a former MPI intern.
Globalization Transforms Trade-Migration Equation
The Declining Enforcement of Employer Sanctions
Temporary High-Skilled Migration


Originally, coffee was the most popular drink in Iran/Persia. However, many growing areas were unfavourable and the transport of the brown beans was therefore difficult and expensive.
The large tea producer China was more advantageous. Tea, which came from there via the Silk Road, was therefore relative inexpensive. So it happened that tea gradually replaced coffee in Iran.
In order to be able to satisfy the increasing demand more easily, a first tea cultivation attempt in Iran was made in 1882, but it failed.
Around 1900 Mohammad Mirza was more successful. He went for several years as a Frenchman camouflaged to the British colony of India. The British would not had given the Persian a residence permit because of the danger of knowledge transfer, and therefore only the disguised presence remained for him. He then secretly learned how to grow and process tea, and he then imported 3,000 seedlings (or seeds from some sources) from Kangra in the Himalayas to his homeland. He then planted the first tea gardens near Lahijan in the province of Gilan at the Caspian Sea.
Even today the main cultivation area is located here, which is the basis for iranian tea consumption.
Iran produces 55,000-60,000 tons of tea per year, but only a portion of the country's own consumption can be covered. Additional tea must be imported.
It is solid tea for daily use, which contains little caffeine and tannins and is therefore well suited for the preparation in a Samowar or Caydanlik. Cinnamon or crushed cardamom is also popular for flavouring.
As in Turkey and Syria, tea is drunk from small glasses. In some cases, like in Russia, it is also poured into a saucer and then hotly slurped out of it. A piece of sugar cubes is gladly put into the mouth to sweeten the tea. Biscuits or dates are usually served with tea.
The tea produced in Iran is nearly exclusively for the domestic market and hardly ever reaches Germany. It can be replaced with tea from Ceylon/Sri Lanka.


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An elegant place to store and charge everything.
Cove is fully funded on Indiegogo!
Griffin's first-ever Indiegogo project, Cove, is a home recharging station with a clean, contemporary design that's at home in any decor. Powerful enough to charge up to five tablets and smartphones, Cove stores your devices as they charge, on built-in, easy-access shelves. A sliding door hides your devices, or doubles as a handy tablet stand.
Cove is wide enough to hold an iPad Pro, however, it does take up one shelf space completely.


Native-Japanese speaker, born and raised in Japan. B.A. in Psychology from Pepperdine University in Malibu, California. M.S. in Industrial Organizational Psychology from San Jose State University. I completed all the course requirements toward a Ph.D. degree in Psychology at Kyushu University in Japan. I have 6 years of experience working as a freelance translator (English to Japanese). I have been involved in a series of translation projects for well-known human resources management consulting firms and government agencies. Although I specialize in human resources, psychology, medical, and scientific translations, I am eager to learn and willing to explore new topics. I guarantee excellent service. I look forward to receiving your material to be translated.