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Top Movie Costumes
The Help Costumes
Check out costumes from the movie The Help to get costume ideas for your next Halloween or costume party.
Movie Overview
Aibileen Clark is a middle-aged African-American maid who has spent her life raising white children and has recently lost her only son; Minny Jackson is an African-American maid who has often offended her employers despite her family's struggles with money and her desperate need for jobs; and Eugenia "Skeeter" Phelan is a young white woman who has recently moved back home after graduating college to find out her childhood maid has mysteriously disappeared. These three stories intertwine to explain how life in Jackson, Mississippi revolves around "the help"; yet they are always kept at a certain distance because of racial lines.
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Moving in tandem
By David WhiteMarch 2004 (Magazine)
Over the last business cycle, the Euro-zone performed better than the US in those areas that drive the return on capital, notably productivity. Although Euro-zone GDP growth is likely to remain far lower than US growth, Euro-zone asset returns are likely to be as high, if not higher, than in the US.
This is the startling conclusion of a piece of prize-winning research by Kevin Daly, a research economist at Goldman Sachs. Daly has analysed the economic performance of Euroland and the US and finds the apparent superiority of the US's economic performance is not borne out by the data when it is analysed over a full economic cycle. He concludes that the Euro-zone' s GDP performance has been inferior to the US's chiefly because it had a slower growing labour force that works shorter hours.
The Euro-zone's productivity has actually been higher than the US , he says. Daly calculates that the Euro-zone's productivity per hour growth, in the 10 years to 2003, was 1.8% a year, 0.2% above the US productivity rate of 1.6% a year over the same period.
This has implications for the financial markets in general and Euro-zone equities in particular. It means that a slower Euro-zone GDP driven by weaker labour force growth should result in a lower return on Euroland assets. This is because economic models show the rate of return is dictated by productivity growth rather than labour force growth.
This has been borne by the Euro-zone's experience over the past 10 years. While the US economy has outgrown the Euro-zone by 10%, the total return on Euro- zone equities, including dividends, has kept pace with the US .
Daly says that the US economy will continue to grow faster than the Euro-zone economy over the next 10 years because growth in the labour supply will substantially outstrip that of the Euro-zone. But as long as faster growth in the US is driven by demographics alone – an expanding labour force – the Euro-zone is unlikely to produce lower returns than the US. In other words, the Euro-zone and US equity markets will continue to move in tandem.
Even the concern about the impact on Euro-zone equities of the weakening of the dollar against the euro may have been overdone. Michael Schubert and Christopher Weil, senior economists at Commerzbank, suggest that worries that the Euro-zone recovery will be 'torpedoed' by the weakness of the dollar seem exaggerated. "The tendency for the media and the financial markets to focus on the euro-dollar exchange rate has blown up the euro's gains out of all proportion. It is the external value of the euro that is the decisive factor for price competitiveness in the euro area," they say.
Schubert and Weil point out that from June 2002 to January 2004 the euro rose 30% against the dollar. However the weighted effective exchange rate versus the currencies of 38 trading partners rose by just under 17% in the same period.
They add that the dent in companies' price competitiveness is only one side of the coin. Purchasing power within the Euro-zone has risen, as imports are cheaper.
As a result, many Euro-zone companies are in better shape than they have been for some time. Corporate restructuring remains a key driver of Eurozone equities, according to Fraser Chalmers, head of European equities at Standard Life Investments in Edinburgh.
"After three years of deteriorating equity prices and declining business and investor sentiment, some of Europe's worst basket-case companies have managed to turn themselves around. Aggressive cost cutting, debt reduction initiatives, disposals of non-core assets and serious management shake-ups have resulted in many leaner European businesses," he says. Chalmers identifies Deutsche Telekom, France Telecom, Zurich Financial Services and Deutsche Bank as some of Europe's most notable successes.
"Vivendi Universal's new management hasn't put a foot wrong since it was installed and the company is perhaps one of Europe's best examples of restructuring," he says. "The company came close to bankruptcy in 2002, when it posted the largest one-year loss in French history. However, since the installation of new CEO Jean-René Fourtou, the company is a changed beast and he is now beginning to convince investors of his worth."
The effect of this, says Chalmers, has been to draw retail investors back into the Euro-zone equities markets, where they have become net buyers for the first time since the second quarter of 2002. FEFSI figures show that collective investment equity funds attracted more than E13bn in the second quarter of 2003, compared with an outflow of E9bn in the previous quarter.
Although equity price increases slowed in the third quarter of 2003, European equity funds gained E25bn in net new money between July and September – the highest quarterly result since the second quarter of 2001.
However, Europe still has some way to go to match the appetite of US retail investors. In the 10 months to the end of October 2003, US equity mu-tual funds attracted $105bn
(E82bn), while funds in Continental Europe attracted only $19.3bn in the same period.
Chalmers says SLI's strategy within Euro-zone equities is to maintain its bias towards pro-economic growth, anti-defensive stocks but with a less extreme tilt than previously.
"We have captured the persistent relative strength in technology sectors like software, IT hardware and consumer electronics. We have recently added to some non-cyclical consumer stocks, in the food and pharmaceuticals sectors, given their recent underperformance relative to cyclical and technology sectors.
"We remain heavy in banks. Within the banking sector, there has been an increase in the flow of corporate deals and several leading European banks have intimated that future expansion plans within Europe are high priority."
Danica Pension lauds active management after 9.5% mid-risk return
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Switch to video meetings puts Norway's SWF off new managers
NBIM suggests low bond volatility undermines some of its rationale for including FI

redpajama_set_name: RedPajamaCommonCrawl


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TV-Host Undergoes Cancer Removing Surgery after Viewer Noticed Dangerous Lump on Her Neck
By Rebelander Basilan
https://news.amomama.com/143156-tv-host-undergoes-cancer-removing-surger.html
"Inside Edition" anchor Deborah Norville will undergo surgery to remove thyroid cancer years after a regular viewer spotted the lump on her neck.
In a video posted on the show's YouTube channel recently, Norville, 60, said that she will soon have surgery to remove a cancerous thyroid nodule on her neck previously seen by a fan.
Deborah Norville at The Ziegfeld Ballroom on October 29, 2018 in New York City | Photo: Getty Images
Following her announcement, Norville took to Instagram to share that she was overwhelmed by the thoughtfulness and great wishes.
"We live in a world of see something, say something, and I'm really glad we do," she said. "When you work on television, viewers comment on everything. Your hair, your makeup, the dress you're wearing."
"And a long time ago an Inside Edition viewer reached out to say she'd seen something on my neck. It was a lump. Well, I'd never noticed the thing, but I did have it checked out and the doctor said it was nothing, a thyroid nodule."
Deborah Norville at Lincoln Center on May 3, 2018 in New York City | Photo: Getty Images
THE LUMP WAS INITIALLY NON-CANCEROUS
It has since transformed into cancer, said Norville, who is the longest-serving anchor on American television.
"For years, it was nothing. Until recently, it was something," the mother-of-three shared.
Norville added that the doctor revealed to her it was a "very localized form of cancer." Her oncologist has not suggested chemotherapy or radiation, but she will have a medical procedure.
Deborah Norville at The Pierre Hotel on October 19, 2016 in New York City | Photo: Getty Images
ASKING PEOPLE TO KEEP HER IN THEIR THOUGHTS
"I'll be away for a bit," she said. "If you believe in prayer, please say one for me and for my surgeon and I thank you very much."
The television journalist said that while she recuperates from surgery, anchor Diane McInerney will be "holding down the fort."
"As you may have heard, today I will have surgery to remove a cancerous nodule from my thyroid. I am overwhelmed by the kindness and good wishes that have come my way!! The world IS filled with kind people. Thank you all! #grateful," she wrote.
Deborah Norville at Alice Tully Hall, Lincoln Center on April 30, 2018 in New York City | Photo: Getty Images
In the United States alone, 50,000 individuals are diagnosed with thyroid cancer every year.
Last year, a woman named Nicole McGuinness is now in cancer treatments after Dr. Erich Voigt noticed an odd lump on her neck.
Hoda Kotb once got candid about her life-changing moment on a plane after cancer surgery
Beth Chapman Rushed to Emergency with Breathing Issues Amid Throat Cancer Battle
Beth Chapman Says Her Husband Never 'Disappoints' as She Shares a Sweet Gift Amid Cancer Battle
People have different initial reactions to a cancer diagnosis. When "Dog the Bounty Hunter" star, Beth Chapman, was first diagnosed with stage II throat cancer in September 2017, she said she would never make herself the victim and fight cancer and not let it beat her. Meanwhile, some people with cancer take out their anger and frustration on those around them.
'The Lord of the Rings: The Rings of Power': Unpacking the Plot of the Amazon Prime Prequel


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It seems that barely a week goes by without Dubai scooping yet another Guinness World Record.The city has now entered the record books with its 'Peace Dove', which is the largest button mosaic on the planet.It was created by Captain Fareed Lafta - an extreme sports enthusiast from Iraq - and the stunning mural in Downtown Dubai contains approximately 1.2 million buttons.The dove is decked out in the colours of the UAE flag and the masterpiece easily overtook the previous record holder - an 88-sq-m mosaic containing more than 900,000 buttons made by students in India, Gulf News reports.Talal Omar, Guinness World Records country manager for the Middle East and North Africa region, told the news provider that the initial aim of the project was to put together the world's largest peace mural.However, there is no official record for this and Mr Lafta and his team inadvertently reached a different milestone."You cannot define what a peace icon is. But you can do a beautiful mosaic like this which is a symbol of peace," Mr Omar was quoted as saying."There is a link. The message he [Lafta] wanted to deliver is to spread peace in our society and in the city and in the Arab world, and probably the world."Dubai has a reputation for pushing the boundaries of what is possible and it was no surprise when Guinness World Records announced it was setting up a new office in the UAE. After all, the organisation seems to spend quite a lot of its time assessing new record attempts in the city each year.The emirate currently boasts the largest building in the world, as well as the biggest mall on the planet.Last month, the JW Marriott Marquis Dubai was officially confirmed as the tallest hotel on earth. The twin-towered complex stands at a flabbergasting 355 metres from the floor and it has instantly become one of the most sought after properties in the Middle East.


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Affairs Now July 11, 2020
BMC Starts Sero Surveilance For COVID -19 in City
570 Fresh COVID-19 Cases Detected in Odisha
Over 27,000 Coronavirus Cases In India In 24 Hours For First Time
Bhubaneswar- 11th July20: In order to know the immunological status of the community and high risk groups, the Civic Authority has started Sero Surveilance for Covid 19 in Bhubaneswar today.
As RMRC (ICMR) Bhubaneswar provides the technical support of the surveillance.
The surveillance is being conducted according to the Covid -19 Guidelines, says Commissioner Prem Chandra Choudhary.
As per the strategy finalised there will be random sample collection from different high risk groups and community members like- Immuno-compromised patients, health care workers, Securirty personnel, Press Corps, Municipal workers, Drivers, Prisons, Shop keepers/ vendors, Air port workers, Urban Slums, Migrant Camps and Containment zones.
About 25 wards have been chosen for the purpose. The designing of sample collection has been made based on the categories of high risk groups. The teams will be visiting the people for the testing. In each ward one cluster has been chosen.
The surveillance will be completed in two rounds. The first round will take around 10-12 days whereas next round of surveillance will start after 28 days of first round as per technical mandate. Exact date will be decided later.
Presently in the first round 5 teams have been formed taking lab technicians. In each team there v around 7-10 members. The teams are guided RMRC personnel. On 11th and 12th July samples will be collected from community members.
As estimated roughly about 1600 samples will be collected from high risk and slum pockets and 900 from community members. So in the first round a total no of 2500 samples will be collected which is technically decided.
The wards selected under three zones are- 2,4,7,14,17,19,27,29,32,40,42,45.54,56 and 59 on 11th July 20 and 09,12,22,24,35,37,48,51,62 and 65 on 12th July 20 will be covered by the team members.
Concerned ward Officer under ZDCs will be guiding the team to find clusters


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He This Way, She That Way (German: Er rechts, sie links) is a 1915 German silent comedy film directed by Robert Wiene and starring Max Zilzer, Bogia Horska, Otto Treptow and Manny Ziener.

Plot
A doctor and his wife try to resolve their marital problems by having affairs.

Cast
 Max Zilzer – Herr Blümchen
 Manny Ziener – Frau Brandeis
 Bogia Horska – Amanda Karola
 Otto Treptow – Dr. Brandeis

References

Bibliography
 Jung, Uli & Schatzberg, Walter. Beyond Caligari: The Films of Robert Wiene. Berghahn Books, 1999.

External links

1915 films
Films of the German Empire
German silent short films
German comedy films
Films directed by Robert Wiene
German black-and-white films
1915 comedy films
Silent comedy films
1910s German films

redpajama_set_name: RedPajamaWikipedia


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G501C polymorphism of oxidized LDL receptor gene (OLR1) and ischemic stroke
Hidenori Hattori, Akira Sonoda, Hideki Sato, Daisuke Ito, Norio Tanahashi, Mitsuru Murata, Ikuo Saito, Kiyoaki Watanabe, Norihiro Suzuki
Department of Internal Medicine (Neurology)
Department of Laboratory Medicine
The human lectin-like oxidized low-density lipoprotein receptor 1 (OLR1/LOX-1) is the major endothelial scavenger receptor against oxidized low-density lipoprotein (Ox-LDL), which has been implicated in the pathogenesis of atherosclerosis. We investigated the G501C mutation in the OLR1 gene in 235 Japanese patients with ischemic cerebrovascular disease (CVD) and 274 age- and sex-matched healthy controls using single nucleotide primer extension analysis (SNuPe). There was no significant difference in the polymorphism between patients with ischemic CVD and controls (GC + CC versus GG, p = 0.48). The C allele was not significantly different between the patients and controls (C versus G, p = 0.91). Our results show that the OLR1 gene polymorphism has little effect on an increased risk for ischemic CVD in the Japanese population.
Published - 2006 Nov 22
Oxidized LDL
Oxidized low-density lipoprotein receptor 1
Single nucleotide primer extension
Fingerprint Dive into the research topics of 'G501C polymorphism of oxidized LDL receptor gene (OLR1) and ischemic stroke'. Together they form a unique fingerprint.
Oxidized LDL Receptors Medicine & Life Sciences
Cerebrovascular Disorders Medicine & Life Sciences
human OLR1 protein Medicine & Life Sciences
Scavenger Receptors Medicine & Life Sciences
oxidized low density lipoprotein Medicine & Life Sciences
Hattori, H., Sonoda, A., Sato, H., Ito, D., Tanahashi, N., Murata, M., Saito, I., Watanabe, K., & Suzuki, N. (2006). G501C polymorphism of oxidized LDL receptor gene (OLR1) and ischemic stroke. Brain Research, 1121(1), 246-249. https://doi.org/10.1016/j.brainres.2006.08.091
G501C polymorphism of oxidized LDL receptor gene (OLR1) and ischemic stroke. / Hattori, Hidenori; Sonoda, Akira; Sato, Hideki; Ito, Daisuke; Tanahashi, Norio; Murata, Mitsuru; Saito, Ikuo; Watanabe, Kiyoaki; Suzuki, Norihiro.
In: Brain Research, Vol. 1121, No. 1, 22.11.2006, p. 246-249.
Hattori, H, Sonoda, A, Sato, H, Ito, D, Tanahashi, N, Murata, M, Saito, I, Watanabe, K & Suzuki, N 2006, 'G501C polymorphism of oxidized LDL receptor gene (OLR1) and ischemic stroke', Brain Research, vol. 1121, no. 1, pp. 246-249. https://doi.org/10.1016/j.brainres.2006.08.091
Hattori H, Sonoda A, Sato H, Ito D, Tanahashi N, Murata M et al. G501C polymorphism of oxidized LDL receptor gene (OLR1) and ischemic stroke. Brain Research. 2006 Nov 22;1121(1):246-249. https://doi.org/10.1016/j.brainres.2006.08.091
Hattori, Hidenori ; Sonoda, Akira ; Sato, Hideki ; Ito, Daisuke ; Tanahashi, Norio ; Murata, Mitsuru ; Saito, Ikuo ; Watanabe, Kiyoaki ; Suzuki, Norihiro. / G501C polymorphism of oxidized LDL receptor gene (OLR1) and ischemic stroke. In: Brain Research. 2006 ; Vol. 1121, No. 1. pp. 246-249.
@article{13dd6b6cab004db6a0b4039a085d5b5a,
title = "G501C polymorphism of oxidized LDL receptor gene (OLR1) and ischemic stroke",
abstract = "The human lectin-like oxidized low-density lipoprotein receptor 1 (OLR1/LOX-1) is the major endothelial scavenger receptor against oxidized low-density lipoprotein (Ox-LDL), which has been implicated in the pathogenesis of atherosclerosis. We investigated the G501C mutation in the OLR1 gene in 235 Japanese patients with ischemic cerebrovascular disease (CVD) and 274 age- and sex-matched healthy controls using single nucleotide primer extension analysis (SNuPe). There was no significant difference in the polymorphism between patients with ischemic CVD and controls (GC + CC versus GG, p = 0.48). The C allele was not significantly different between the patients and controls (C versus G, p = 0.91). Our results show that the OLR1 gene polymorphism has little effect on an increased risk for ischemic CVD in the Japanese population.",
keywords = "Atherosclerosis, Ischemic stroke, Oxidized LDL, Oxidized low-density lipoprotein receptor 1, Polymorphism, Single nucleotide primer extension",
author = "Hidenori Hattori and Akira Sonoda and Hideki Sato and Daisuke Ito and Norio Tanahashi and Mitsuru Murata and Ikuo Saito and Kiyoaki Watanabe and Norihiro Suzuki",
T1 - G501C polymorphism of oxidized LDL receptor gene (OLR1) and ischemic stroke
AU - Hattori, Hidenori
AU - Sonoda, Akira
AU - Sato, Hideki
AU - Ito, Daisuke
AU - Tanahashi, Norio
AU - Murata, Mitsuru
AU - Saito, Ikuo
AU - Watanabe, Kiyoaki
AU - Suzuki, Norihiro
N2 - The human lectin-like oxidized low-density lipoprotein receptor 1 (OLR1/LOX-1) is the major endothelial scavenger receptor against oxidized low-density lipoprotein (Ox-LDL), which has been implicated in the pathogenesis of atherosclerosis. We investigated the G501C mutation in the OLR1 gene in 235 Japanese patients with ischemic cerebrovascular disease (CVD) and 274 age- and sex-matched healthy controls using single nucleotide primer extension analysis (SNuPe). There was no significant difference in the polymorphism between patients with ischemic CVD and controls (GC + CC versus GG, p = 0.48). The C allele was not significantly different between the patients and controls (C versus G, p = 0.91). Our results show that the OLR1 gene polymorphism has little effect on an increased risk for ischemic CVD in the Japanese population.
AB - The human lectin-like oxidized low-density lipoprotein receptor 1 (OLR1/LOX-1) is the major endothelial scavenger receptor against oxidized low-density lipoprotein (Ox-LDL), which has been implicated in the pathogenesis of atherosclerosis. We investigated the G501C mutation in the OLR1 gene in 235 Japanese patients with ischemic cerebrovascular disease (CVD) and 274 age- and sex-matched healthy controls using single nucleotide primer extension analysis (SNuPe). There was no significant difference in the polymorphism between patients with ischemic CVD and controls (GC + CC versus GG, p = 0.48). The C allele was not significantly different between the patients and controls (C versus G, p = 0.91). Our results show that the OLR1 gene polymorphism has little effect on an increased risk for ischemic CVD in the Japanese population.
KW - Atherosclerosis
KW - Ischemic stroke
KW - Oxidized LDL
KW - Oxidized low-density lipoprotein receptor 1
KW - Single nucleotide primer extension


text:
I Only Saw AC/DC The Once, part two
Posted by patblack in Memoir, Music, Non-fiction, Pat Black, Pop culture
AC/DC, Angus Young, Axl Rose, Back In Black, Bon Scott, Brian Johnson, Cliff Williams, Etihad, Gibson SG, Ginger Wildheart, Heavy metal, Highway To Hell, Live music, Malcolm Young, Music, Phil Rudd, Rock, Rock Or Bust, SECC, The Wildhearts
Neil Young doesn't clean his guitar either… you should direct all queries to him
I didn't have a drop of drink in me on June 1st 1996. For a night out in my 19th year, this was rare indeed.
It was a Friday, and I took the night off my brain-numbing summer job to see the show with an old school friend. It was a hot, sunny evening – perfect conditions… for a sweaty concert in a black-curtained shed on the banks of the river Clyde.
My mate and I might well have been drunk, giddy as primary school kids as we both leapt around the street on the approach to Drumry train station. This was a notorious non-accident blackspot for travelling Drumchaplians through the ages. A couple of years beforehand the pair of us had to look lively in roughly the same area when some lads bearing what seemed to be a rackfull of car mechanics' tools inquired if we had been "screwing hooses" in the immediate vicinity. Clearly our stripy tops and Dick Turpin masks were the dead giveaway, as well as the bulging sacks over our shoulders marked "swag"… Oh hang on, that was another night.
The height of bad manners, these tool-bearing chaps then attempted to repair the fuck out of us before we had a chance to reply in the negative. Fortunately, I was quite fleet of foot in those leaner times, though I always wonder what might have happened had the claw-hammer wielding lad's fingers gained purchase on my collar instead of slithering off when he tried to grab me. Perhaps we'd have had a good laugh about it and become firm friends.
Thankfully, there were no trolls lurking beneath the bridge to put a spanner in the works, and possibly through our faces. This was one of the good nights.
They might not have been queueing around the block to get tickets on the first day of sale, but AC/DC's fans came good eventually. The SECC gig was sold out. There was a brilliant atmosphere among the crowd on that weird peristalsis through the red-ribbed intestine of the pedestrian bridge over the Clydeside expressway. Lots of band apparel about, more than a decade before classic rock band logos briefly became an ironic fashion statement. I was wearing my Whole Lotta Rosie t-shirt, actually one of the less ugly garments bearing the AC/DC stamp.
Like one of the great love affairs, AC/DC had "stolen" me from Iron Maiden in 1990. Maiden were my brother's favourites from the era when we shared a room, and so they became mine. I didn't see anything unusual about the band's monsters, studded gauntlets, uncomfortable trousers and galloping basslines, but AC/DC offered something different. They had a little bit of dirt in their engine; they talked about things that could happen to you in the real world.
The summer in between my third and fourth year at school – 25 years ago – I discovered lots of their music, particularly Bon Scott's work. If listening to Brian Johnson screaming out "Thunderstruck" was a flashbulb moment, then hearing the Young brothers in tandem on "Let There Be Rock" was a true epiphany. Highway To Hell and Powerage followed that summer, the latter in particular becoming one of my enduring favourites. Keith Richards knew this band were onto something, citing the hard-edged sound of Powerage on his own all-time list.
Iron Maiden were dumped. I bought a live album in the next few years, but we were basically done. I did go to see them out of a lingering sense of loyalty in 1993, at the age of 16 ("I Only Saw Iron Maiden The Once"), but this wasn't thrilling to me; more like an obligation. The gig equivalent of a night out with a sullen partner in the months before you finally split, where no-one says anything.
I felt like I was playing with toys I was too old for. Bruce Dickinson had already announced he was leaving, and you could tell he was fed up; he got booed for one or two statements, including a remark about "this shitty arena". This might have been prompted by the somewhat embarrassing sight of a far-from-full SECC, with great banks of empty seating at the back. He was disillusioned; so was I.
(Of course I have reversed this stance as I've gotten older. I rebought some of Maiden's classic albums and will blast them out unashamedly in the car. I wouldn't rule out going to see them. You never truly forget your first love, do you?)
The fantasy monsters and the songs based on epic poems were cast out the window with AC/DC. The Scots/Australian band's stripped-down sound and unrelenting hard rock style gives them a certain mental cache. This was boys' music, right enough, a world of hard-drinking working class men chasing their women and their dreams, and bumfluffed little brother types like me trying to emulate them. I often wonder if, at some level, I'm still trying to live up to that toxic example.
For me, it was always about the music. I was addicted to heavy riffs and frenzied guitar solos. I wanted more notes, a great swarm of them buzzing around my ears. The lyrics, the art direction and the fashion were distant considerations. It's a paradox in that I've always wanted to write novels, and at the time, I wanted to be a guitar player and write songs – but I never wanted to write lyrics. It just didn't interest me. Even now, I'm far more entranced by a melody or a good hook than I am by a finely-turned line. It's hard to explain. It's visceral, not cerebral, and that certainly describes AC/DC.
In examining his work today, Bon Scott's songwriting betrayed a melancholy tone in between the sleaze (see "Overdose", "Ride On", or even the lachrymose-for-all-the-wrong-reasons pubic lice infestation lament of "Crabsody In Blue"); but you can't make that excuse with Brian Johnson's early songs, which saw AC/DC at their commercial peak.
There was some aggressive and plain nasty imagery in there among the power chords and the steady, remorseless beat. In the same way as some feminists applaud Viz's Fat Slags because they do what they want, when they want, with men entirely subordinate to them, I can make a case for "Whole Lotta Rosie" actually being about Bon Scott enjoying an unforgettable erotic experience with a confident plus-size woman, and do it with a straight face, too.
But these days it's difficult to justify lyrics like "Let me put my love into you… let me cut your cake with my knife" or "You bitch, you must be gettin' old" to women (both songs on Back In Black). "First Blood" from Fly On The Wall became one of my favourite songs of this era purely because of Angus Young's violent, epilepsy-inducing, thrashy guitar solo, but it doesn't take a genius to work out what the song was about – and it had nothing to do with Sylvester Stallone in a vest and headband.
Maybe AC/DC will always be the preserve of spotty, sniggering, spunk-stained, dirty-joke swapping teenage boys; perhaps this is the true genius in Angus Young's famous stage costume.
It's ironic that AC/DC should have this 4/4 macho stance, given their early stylings. They started out in the glam rock era, when Bowie, Bolan and arguably Jagger before them had made sexual ambiguity big business. The band's name would certainly have raised eyebrows at the time, and couldn't possibly have been coined naively.
The same is true of their early, rarely seen photographs, where the band is definitely flirting with sexually ambiguous imagery (what's Bon Scott wearing, and what is he doing with his hands?). It certainly gives us pause for thought when we consider Angus Young's choice of outfit; as I joke to people these days, I grew up not with Pamela Anderson or Eva Herzigova on my walls when I was a teen; instead, the woodchip wallpaper was covered with pictures of an ugly middle-aged man dressed as a schoolboy.
This all sailed cheerfully over my head. It's a bit like the old Judas Priest conundrum. I smile when I imagine your classic homophobic rock fan – and it pains me to admit that this does describe me as a 14-year-old – punching the air at Priest concerts, oblivious to Rob Halford's leather bar costume stylings and his lyrics, which could be quite unambiguously gay. Although the "metal community" rallied round Halford when he eventually came out, there must have been plenty of people in denial beforehand, singing along to "Hell Bent For Leather".
When the Manic Street Preachers bandied around their "all rock and roll is homosexual" slogan, they might have been closer to the truth than I would have admitted back then.
Before he emerged in his familiar guise as a broken-toothed, denims and leather-wearing barroom brawler, Bon Scott looks astonishingly camp in his early days; take a look at him singing with the early Australian boyband the Valentines on Youtube, flaring his eyes whenever the camera fixes upon him.
Yep, that's right – Bon Scott, ex-boyband singer. He's not even the lead singer, he's on back-up – he's the equivalent of that lad in Boyzone who looked like a potato. The paths to success can be strange indeed. Remember that, the next time you fancy sneering at young lads aiming for a foothold in the music industry on talent shows. Every Zayn Malik could simply be the larval stage for a tattoo-winged rock god… Odder things have, indeed, happened.
The early ambiguity was just an affectation in order to gain notoriety, of course, and the band quickly adopted a harder sound and harsher imagery once they hit on their winning formula. Though Bon Scott's tragic end on a bitterly cold night in London in 1980 might have finished them, that basic template hasn't changed, right up to the present day, despite a Spinal Tap-style retinue of drummers, Malcolm Young's sad decline and retirement and now, Brian Johnson's shock departure.
But here was the strange thing. Since becoming an AC/DC fan and acquiring all their albums, my roving eye had been captured by another band – British lads, from Newcastle. I first saw the Wildhearts in late 1993, supporting local heroes The Almighty at the Barrowlands. It's not strictly speaking fair to say that the support blew the headliners offstage, but Ginger and the boys made an incredible impression on me despite the presence of a quarter bottle of neat vodka in my 16-year-old bloodstream. They stayed in mind, and I bought their debut album, Earth Vs The Wildhearts in early 1994. AC/DC weren't dumped, exactly… but if you ask me to name my favourite band, it's The Wildhearts. Earth Vs remains my favourite album of all time. And the Wildhearts were supporting AC/DC on the Ballbreaker tour. This was, and remains, my dream gig line-up.
My mate and I were split up for the show; he'd been tardier than me with getting tickets, so was perched in the seated area, while I was in standing. I enjoyed the Wildhearts, though I didn't know the band was on the verge of imploding. They sang "Sick of Drugs", their big single from that year, but lead singer Ginger was about to embark on some unpleasant travels with his crack pipe, unbeknown to the audience. They got a great reception. Then the main event began.
The stage set was covered by a huge brick wall, as if the stage were a castle. What is this, some Spinal Tap shit? I wondered.
Then came a video, introduced by Beavis and Butthead (ask yer dad…). Then, a huge wrecking ball descended, swaying perilously over our heads before demolishing the castle walls. Then AC/DC ran out, and tore into "Back In Black".
It was a joyous show. There they were, right in front of me, at long last. The setlist was pretty much the same as their Live CD from a few years beforehand, with a couple of surprises in "Dog Eat Dog" and "Rock and Roll Ain't Noise Pollution", as well as a creditable number of tracks from Ballbreaker. There was still a lot of sleaze in the mix when it came to the songwriting subject matter, but it was quite comical in tone. "Hard As A Rock", the lead single from the year before, still raises a smile when I consider its unforgettable couplet: "Her hot potatoes… Will elevate ya!!!"
The title track saw Brian Johnson astride the wrecking ball, taking his life in his hands from a long way up, and no sign of a harness either, while never missing a note. Was Miley Cyrus even alive at this point? If so, she wouldn't have been out of nappies – yet here was Beano Johnson, doing what she would later become famous for (as a number of internet memes pointed out). Johnson also hung upside down from Hell's Bell itself, causing further palpitations in any watching health and safety inspectors.
Meanwhile, Angus was as Angus did, still pinwheeling around the stage, and soloing away on his own platform near the end, doing the same old strip tease. The video screens showed Angus getting oxygen as he travelled through to his solo platform – an old gimmick, to make it appear if he was hyperventilating in the same way as James Brown made it look as if he had to be helped off the stage. In much the same way as James Brown might have actually needed a helping hand in his latter days, I wonder if Angus now actually needs the oxygen as he closes in on old age?
A nod to his and Malcolm's Glaswegian origins, Angus played The Bonny, Bonny Banks of Loch Lomond before "Highway To Hell", as we knew he would, before the cannonade of "For Those About To Rock" brought the curtain down in time-honoured, ear-splitting fashion.
I went home tired, hoarse and happy. What could be finer when you're 19 years old? Going back to a girl's flat, I suppose. But I shouldn't be greedy.
AC/DC have toured three more times since the Ballbreaker show – and I've missed them every time. I bought Stiff Upper Lip in 2000 on the day of its release, but something happened before I got to see the band for a second time at the SECC; an adult relationship with a live-in girlfriend. The show came and went; I didn't go. I felt only mild regret. This was a truly strange time in life where I flirted with full-fledged adulthood. I now regret not going; the girlfriend wasn't a good fit for me.
AC/DC wouldn't be back for another nine years, and it's here that we go back to the top. There was initially a furore that the band wouldn't tour the Black Ice album in Scotland. This prompted a petition, which I even signed – as Victor Bull. As marketing strategies go, it was brilliant; we all had fish hooks in our mouths. A date was duly announced – not at the SECC's breezy expanses, but at Hampden Park. AC/DC at Hampden Park! I contacted my old school friend. This had to be done. We had to go.
I went down to the new ticket venue, based at the St Enoch Centre – at 8am this time. I had my 1995 experience in mind, but I still wasn't taking any chances. I expected to walk in off the street, though I was wary of some delay, given the hype surrounding the Hampden show.
Fourteen years after I stood outside the Virgin Megastore, wondering if I'd got my dates mixed up, I got out of Central Station, saw the queue snaking its way all the way up the street, and my chin hit the floor.
The queue was bigger than the one for Nirvana. Times had changed, fashions had come and gone, new bands had risen and fallen… but AC/DC were more popular than ever.
The nightmare came true. We were told the concert had sold out, just as we rounded the final corner to approach the sales desk, two hours later. I missed the show. AC/DC at Hampden Park!
I harboured pure rage for some long-haired, pierced nu-metal teenagers who walked past me, with their tickets secured. "They're like, my dad's favourite band… but they're so cool!"
Skateboarding fucks! I thought. I hope your next half-pipe has a jobbie in it!
And the hell is not over. The Rock Or Bust tour, just last year. Hampden Park again. I was living in England, but I manned the phones to get a brief, in hope rather than expectation.
Nothing doing. It was sold out immediately.
I couldn't believe it. I might never see them again!
I will, though. Extra dates were announced, totally unexpectedly. They're playing at the Etihad in June – much closer to where I live now than Hampden Park. The announcement was made in December, possibly allowing for the less frenzied uptake of tickets this time out.
Finally, I've got the tickets. My old schoolmate is going to be there too. It'll be an incredible 20 years since we saw them, almost to the week, just that one time.
But, as you've no doubt heard, there's a Problem.
AC/DC's ranks are diminished, now – perhaps fatally. Band fulcrum Malcolm Young is in an enforced retirement thanks to Alzheimer's, and now even Brian Johnson is out of the picture, his eardrums having taking a few beatings too many over the years (he claims this is mainly due to his love of motorsport, though). Phil Rudd is off the scene, thanks to some bizarre legal difficulties back home in Australia. He's been replaced by Chris Slade, the drummer from The Razor's Edge era. Angus and Malcolm's nephew Stevie Young is on rhythm guitar duties, and while you can tell he's a Young all the way just to look at his face, it's simply not the same band without Malcolm.
Brian Johnson's loss grieves me terribly. I have heard stories from several sources about this man (one from Ginger Wildheart, but many from people who have simply bumped into him) who affirm that he is one of the loveliest, most down-to-earth, genuine people in showbusiness, who will always take the trouble to spend time with fans. It makes me uncomfortable to think he won't be there; that perhaps we've seen the last of him.
Axl Rose – yes, that Axl Rose – is replacing him, at least temporarily. I had mixed feelings upon hearing this.
I've never seen Axl Rose live – I did see Slash, and various members of Guns N' Roses, in the guitarist's solo project band in 1995 – but not Axl. He doesn't have a great track record with showing up for concerts in his own band, let alone other people's. This doesn't square with AC/DC's work ethic at all. I wonder if Angus is headed for trouble on this tour.
I guess I'll find out. Angus Young stops when he drops. Just like the rest of us.
You can bet, though, that when Angus starts playing the opening bars of "Thunderstruck", there'll be one gadgie in that crowd transported back in time.
If 2016 has taught us anything, we should embrace our heroes while they're still around. And that'll be the topic of the final part of our journey…
Read the first part here.
Rats, Dirty Bits and Dropping the Big One: A Tribute to James Herbert
Posted by patblack in Authors, Books, Horror, Memoir, Non-fiction, Pat Black, Pop culture, Writing
Darkplace, Garth Marenghi, Horror, Horror boom, Horror writers, James Herbert, Paperbacks, The Rats
We could hang out… a DVD, a coupla beers, maybe a takeaway…
Seeing as we're flinging everything out, here's something I wrote when James Herbert clocked off a couple of years ago. Don't have nightmares…
Could you call James Herbert a hero? I guess there was a point when I wanted to be him.
It all started at the age of nine, when I crept into the forbidden sepulchre of my elder brother's bedroom. Below his bible and a large crucifix was a book with a creepy looking grey rat on the front.
The cover to that mid-eighties edition of The Rats could be called subtle, for the time; just a suggestion of blood on the whiskers and claws, a twinkle of malevolence in the eyes.
Bible and crucifix were swept aside. Who could resist taking a wee look at The Rats?
My eldest brother was never much of a reader. I'm not sure he got to the end of The Rats, far less his Bible. Who can say what drove him to buy brand spanking new copies of James Herbert's shockers? I imagine it was a recommendation from his mates at the shipyard. Ye'll like this… Gory as fuck!
I even saw my dad having a flick through The Rats, too. "This is not a book for you," he grimly intoned.
Guaranteeing that, of course, it was very much a book for me.
This was the way most people first experienced James Herbert. Scenes spoken of with a certain relish, copies accessed as furtively as porn. It's a surprisingly common experience among bookish Britons of a certain age, entranced both by the violence and also the dirty bits he liberally salted his prose with. I thought I was the only creep, but it turns out lots of writers and readers felt the same.
I read most of his output up until 1990's Creed… then nothing more from his pen until I recently re-examined The Rats, for the purposes of a review. I noticed the sub-texts and allegories I missed the first time around; its condemnation of parts of London being left to rot by the authorities, as much as its examination of grim lives coming to an end in a sordid, but spectacular, fashion.
James Herbert's books occupy the same sort of shelfspace as the works of Sven Hassel. I'm not sure of his literary cache – Martin Amis famously eviscerated The Rats under a pseudonym in The Observer, a review which apparently drove the 28-year-old debut novelist to tears – but regardless of how sniffy you're willing to be about your fiction, you know who Herbert is, and what he wrote about.
When The Rats came out in 1974, Hammer Horror films were still on the go, featuring castles, villains in black hats and capes, naughty girlie vampires in nighties and thundering carriages pulled by black-plumed steeds. In the US, Nixon was about to become the first American president to resign, Vietnam was drawing to an ignominious close and environmental concerns were beginning to force their way into the headlines. In Britain, labour problems periodically brought the country to a standstill. A number of strikes left rubbish piled up in major British cities, the dead went unburied, and plagues of rats were feared as unemployment levels climbed.
Taking these fears and nightmares to an extreme, Herbert eschewed the Hammer Horror/Gothic traditions of horror in Britain, and instead provided the kind of nastiness that struck in suburban houses, dingy flats and bedsits. Herbert drowned horror's tropes and conventions in the kitchen sink, and shone a steady light on the grubby underbellies of ordinary lives.
That his books were prurient is almost as much a part of the Herbert make-up as rats or violence. I'm repeating myself from the other blog, but I wonder if Herbert would have been horrified or amused to know how many boys first encountered sex in prose through his books.
But he was a moral writer, the sort of author for whom illicit, seedy sex is punishable by death; I'm thinking of the two cheats in Lair, in particular, whose remains are stumbled upon by a pathetic parkland flasher in one of the many sections of Herbert's novels overlaid with ghoulish laughter.
He was raised a catholic, and I think it shows. From the Irish woman in The Rats seeking to reconcile her love of sex with her love for Christ, through to the climax of Shrine, where the power of prayer vanquishes the witch, Herbert's work betrayed a spiritual bent in among the demons, malice, madness and death. Indeed, some of the rats' victims experience moments of peace and even bliss as they slip into the next life.
And get et.
As well as writing scenes of horror befalling ordinary people – some deserving, some merely luckless – Herbert could also write a good set-piece. The siege at the school in The Rats, or the tank chase in The Spear, or the moment when the bunker floods in Domain, were all first-rate scenes of suspense, action and adventure. Perhaps there was a Sven Hassel novel in him, waiting to get out? We may never know.
It's important to remember just how many books James Herbert sold in his career, how popular he was. I think he stands equally tall as Stephen King on these shores, whose career in the same genre took off at the same time under the same economic conditions. These two working class boys both got very rich in countries controlled by conservative governments who helped deregulate the financial industry, sowing the seeds for today's ghastly messes – although you could call neither man a conservative.
Things were rough, industrially and economically, for many people in those days. Herbert's horrors reflected that, and The Fog and The Rats should certainly be counted as fine allegories of social decay and inequality.
We sometimes forget how omnipresent the threat of nuclear annihilation seemed to be in the 1970s and 80s; surely a contributor to the atmosphere of fear and uncertainty reflected in Herbert's novels. His final story in the Rats trilogy, Domain, might be one of the best novels ever written about a post-nuclear wasteland. Although its giant killer rats are quick to get their teeth into global supremacy with humankind on its back, the horror doesn't concern them so much as the devastation wreaked by the bomb and people's struggles to survive it – and each other.
It's a tragedy that James Herbert didn't get to write a fourth Rats novel. Perhaps it could have been a prequel to Domain, looking at today's London in its supposed post-Olympics glow. I cannot think of a time and a place more befitting of a plague of giant killer rats than the modern day capital, with its insane property market presided over by a near-sociopathic "austerity" government stuffed with indifferent toffs and impossibly rich oligarchs. London Mayor Boris Johnson could easily be a leading character in one of Herbert's novels – one you could safely bet wouldn't make it to the final pages.
So much for all that. We have to say farewell to James Herbert. It's a blow when these figures of your youth begin to die off, at what Arundhati Roy termed "a viable, dieable age". It's a reminder of your own passing times, and thusly your own mortality – the root of all horror.
But it was also heartwarming to see the tributes to him appearing on Twitter, in newspapers, on websites and elsewhere. James Herbert made his mark, his work was loved, and his passing was peaceful. That's a great final score.
So long, and thanks for the scares, Jim. And the dirty bits.
But mostly the scares.
Difficult first album
Posted by patblack in Authors, Books, Fiction, Literature, Novels, Pat Black, Pop culture, Writing
Baby steps, Books, First drafts, First novel, Manuscript, Page turner, writing
Needs seasoning.
Here's a sample of the first chapter of my first novel.
I started writing it in October 1998. I finished it on All Fools' Day 2003. I was 21 when I began, 26 when the first draft was completed. Needless to say, I failed to snag that big publishing deal. However, I remember the morning I started writing it, before embarking on an early shift. I rattled these words out on my brand new, ruinously expensive Time computer while I waited for a taxi to arrive.
This is the big league, I thought. I'm in the game now.
The book is set in 1999, and follows the thoughts and experiences of a cultured, but ugly club doorman. We come to realise that he is a serial killer, with a very nasty performance art project under way.
I thought I was examining the decadent youth culture of the time, its bones picked clean by unscrupulous predators. In truth, the late 90s were a comparatively benign period. It's not on par with the more interesting modern times; the Britpop explosion had tapered off into a thin fart, and reality TV was just about to creep into our lives. The music, fashions and preoccupations of 1999 in particular already seem naff.
I chose some big game to start off with. I should have targeted a squirrel or two first, instead of trying to bag an elephant. The novel is massive, mind-bogglingly big compared to what I'm trying to write these days. I thought I was being all zeitgeisty and edgy. Certainly the book is extremely violent; so much so that I had a near change of heart before the end. I got fed up spending time in the narrator's head. Nowadays, I'm more interested in reading this to get a flavour of the young man I was at the time of writing, rather than the style or whatever I was trying to say.
If I am being particularly unkind to myself, I would venture that American Psycho has a lot to answer for.
Revisiting this text, possibly for the first time this decade, I'm most shocked by how readable it is… But don't take my word for it.
The novel is called Meat, and it's still lying on file. All 200,000 words of it… Here's the first couple of hundred. Apart from the agents who binned it summarily, not another soul has had a chance to read it, until now.
There's a world of lights, noise and confusion up the stairs. The music throbs through my flesh, my bones, into the very marrow, piercing my body right through to my boots and the floor underneath. There's nowhere to hide in here. People everywhere, forced smiles, a group of girls heading up the stairs with fat thighs and pencil-thin straps on their dresses; now a couple of slick-haired boys giggling behind them, salivating at the raw flesh.
"Get me the President," one of them says. "It's an eclipse," another one says.
They're hardly the worst, of course.
It's busy now and it'll be even busier later on. This is the end of the month and a long weekend into the bargain, and all the kids come out; students, shop workers, older guys who should have girlfriends by now, schoolchildren. Tam and Dennis are IDing the nervous ones and the most shabbily dressed down below, picking on every fifth male when that gets boring. Company policy, sir. The management reserves the right. I've been sent out as the drone for the moment, which usually means collecting pint glasses and looking hard. Modestly forbids me to tell you how good I am at both.
It's quarter to eleven and the dance floor should be filling up. I will have to push my way along the sides of the Pit to get to the balconies running along the walls of the great dance hall, to watch the groups of people attempting to secure a mate by dancing, the shiny clothes and bare shoulders.
Don't misunderstand me this early on, please; I don't hate these kids. They're stupid, arrogant, greedy and offensive with the drink, that much is sure, but they are the plankton. The base of the food chain, big in number but small in importance.
By the cloakroom sliced into the wall there's another group of lads talking while one of their friends waits to hand his jacket in to the girls at the booth. The music is a little louder there, and people skip up the stairs to the Light Corridor once they've put their coats in. At the start of the night this zone is a place of enthusiasm. The lighting in the cloakroom area is harsh and my shadow falls over the four lads, all quite skinny, aged about nineteen, one of them with the red tracks of a hurried shave under his chin. You've got to be slow with a razor under there, lad.
They stop talking and smiling when they notice me. I realise I've been staring. I fall back on a mantra. Daily prayers.
"If you've handed your jacket in, keep moving up the stairs."
A boy with bright red hair and a sky-blue shirt points to someone in the queue. "Just waiting for our mate, there."
My antennae twitch, and I move a little bit closer. "If you've handed your jacket in, make your way up the stairs please."
I could be asking a shop assistant to put my receipt in the bag, or ordering a pot of tea at a cafe. One of the boys lets the friend in the queue know where they're going and then they troop up the stairs.
A bit of proximity often does the trick. And this is not an ego thing for me, you must lose that idea straight away, too. They're a blockage for the people coming into the building who want to put their jackets in, so you have to clear them.
Discipline. Good order. That's the key.
Pump it out
Posted by patblack in Books, Fiction, Pat Black, Short Stories, Short Story, Writing
Anthologies, Books, Collected stories, fiction, New book, New release, Short stories, You Be A Pirate Ill Be A Cowboy
In with the new
"Keep pumping it out," my first English teacher at big school said. "Write, write more, keep writing."
He also said, "Why don't you fuck off to St Aloysius?", but we'll gloss over that part. Miserable old git. Almost surely dead now. Perhaps I should be kind? Maybe tomorrow.
Anyway, pump it out I do. Not so much lately. I'm stuck in the tar pit of a novel-in-progress, lowing like a brontosaurus. But, lucky old planet, there's loads of my stuff ready to release.
Here's my latest short story collection, You Be A Pirate, I'll Be A Cowboy.
You shouldn't trust anything I say, but hand on heart, this is probably my best work. It's definitely my best title.
There's a few more of these things to come. Everything must go.


text:
package uk.ac.kent.dover.fastGraph;

import java.awt.Point;
import java.awt.event.KeyEvent;
import java.io.File;
import java.io.FileNotFoundException;
import java.io.IOException;
import java.io.PrintWriter;

import org.jsoup.nodes.Document;
import org.jsoup.nodes.Element;

import uk.ac.kent.displayGraph.drawers.GraphDrawerSpringEmbedder;

/**
 * Find one graph inside of another.
 *
 * @author pjr
 *
 */
public abstract class SubgraphIsomorphism {

	/**
	 * Saves the given subgraph into the relevant folder with the key of count
	 *
	 * @param target The target graph
	 * @param sub The FastGraph to save
	 * @param count The number of this FastGraph
	 * @param mainDir The parent directory to save to
	 * @throws IOException If the buffers cannot be saved
	 */
	protected void saveSubgraph(FastGraph target, FastGraph sub, int count, File mainDir) throws IOException {
		//save graph
		sub.setName(target.getName());
		File dir = new File(mainDir.getAbsolutePath()+File.separatorChar+count);
		dir.mkdir();
		sub.saveBuffers(mainDir.getAbsolutePath()+File.separatorChar+count, target.getName());

		//save SVG
		uk.ac.kent.displayGraph.Graph dg = sub.generateDisplayGraph();
		dg.randomizeNodePoints(new Point(20,20),300,300);
		uk.ac.kent.displayGraph.display.GraphWindow gw = new uk.ac.kent.displayGraph.display.GraphWindow(dg, false);
		GraphDrawerSpringEmbedder se = new GraphDrawerSpringEmbedder(KeyEvent.VK_Q,"Spring Embedder - randomize, no animation",true);
		se.setAnimateFlag(false);
		se.setIterations(100);
		se.setTimeLimit(200);
		se.setGraphPanel(gw.getGraphPanel());
		se.layout();
		File saveLocation = null;
		saveLocation = new File(mainDir.getAbsolutePath()+File.separatorChar+count+File.separatorChar+"subgraph.svg");
		uk.ac.kent.displayGraph.ExportSVG exSVG = new uk.ac.kent.displayGraph.ExportSVG(dg);
		exSVG.saveGraph(saveLocation);

	}

	/**
	 * Exports the results to a HTML file
	 *
	 * @param target The target graph
	 * @param mainDir The parent directory
	 * @param count The number of results
	 * @param type The type of subgraph isomorphism
	 * @throws FileNotFoundException If the output file cannot be created
	 */
	protected void buildHtmlOutput(FastGraph target, File mainDir, int count, String type) throws FileNotFoundException {
		Document doc = Document.createShell("");

		doc.head().appendElement("title").text(target.getName());

		//size
		Element linksDiv = doc.body().appendElement("div");
		linksDiv.appendText("Subgraphs found: ");
		for(int i = 0; i < count; i++) {
			linksDiv.appendElement("a").text(i+"").attr("href", i+"/subgraph.svg");
		}

		File output = new File(mainDir.getAbsolutePath()+File.separatorChar+"index.html");
		//save the output html file

		try(PrintWriter out = new PrintWriter( output )){ //will close file after use
		    out.println( doc.toString() );
		}
	}

}

redpajama_set_name: RedPajamaGithub


Jimmy Johnson is one of Chicago's most passionate blues singers and original guitarists, making him one of the area's top drawing bluesmen. Locally, Johnson is rated the equal of such acclaimed Chicago bluesmen as Buddy Guy, Otis Rush, Lonnie Brooks and Son Seals.
Johnson's lone release on Alligator Records, Bar Room Preacher, was an important step in solidifying Johnson's reputation as one of this country's top contemporary bluesmen. The album was a prime showcase for his high, gospel-tinged voice and elegantly jazzy, stinging guitar.
Raised in an exceptionally musical family in the small town of Holly Springs, Mississippi, Johnson began singing in the local church choir. He later sang with the United Five, a spiritual group in Memphis. After his move to Chicago in 1950, he sang and played guitar with the Golden Jubilaires.
Johnson's younger brothers, Mac and Syl, took up the blues early on and became professional Chicago blues musicians while their older brother was still working as a welder and singing with Windy City gospel groups. Mac spent many years as Magic Sam's bassist. Syl Johnson, a popular soul singer with a string of R&B hits under his belt (including the original version of Take Me To The River), has also remained strongly rooted in the blues.
It wasn't until the late 1950s that Johnson became a professional performer himself. In 1959, he began playing with bluesmen Magic Sam and Freddie King, and gigged with Harmonica Slim Willis and others. Though his first love was the blues, there was more money to be made as an R&B artist. Johnson spent the next 20 years jobbing as a highly successful soul and R&B guitarist and bandleader on Chicago's South and West sides.
Johnson finally grew tired of covering everyone else's hits and decided to pursue blues full-time. In 1974, he began his back-to-the-blues campaign when he signed on with Jimmy Dawkins as Dawkins' rhythm guitarist. He toured Japan with Dawkins and Otis Rush, appearing on Rush's live Japanese album and two Dawkins studio albums before putting together his own band.
Johnson's debut as a blues recording artist was explosive. In 1978, his name first garnered national attention as well as a Grammy nomination when Alligator included four previously unreleased Johnson tracks on Living Chicago Blues, Vol. 1. These cuts, and two soon-to-follow records on the Delmark label (Johnson's Whacks in 1979 and North/South in 1982), established Johnson as a witty and prolific songwriter who combined challenging arrangements and elements of jazz, rock, gospel and country into a blues style all his own.
Johnson's approach to the blues is straight ahead and honest. His 1985 Alligator effort, Bar Room Preacher, features vibrant renditions of such standards Cold, Cold Feeling, When My First Wife Quit Me and Little By Little, as well as Johnson originals Happy Home, Heap See and Missing Link.
Johnson has won a variety of national and international awards over the course of his career. Since recording for Alligator and Delmark, Johnson has remained active in music and continues to tour and record.


text:
Q: how to set up SVN on Mac terminal? so i know how to set up a SVN itself. I've created the folder and already have SVN itself running on my Mac. However, I'm not sure how to actually add a repository to the folder so I can connect to the repository to start downloading. Am I missing something here?

A: You already have a server running yes?
Then just do this:
svn co http://server/path/to/directory/to/checkout ./repository

This creates a new folder 'repository' (you can name it however you want) and downloads all the stuff in 'path/to/directory/to/checkout' to it. If this contains nothing, this is not a problem but svn knows now that 'repository' is under version control.

redpajama_set_name: RedPajamaStackExchange


Provide school food for over 40 different nationalities? Understand the importance of intercultural dialogue? Become an integrated part of a school team?
Peter Welch is Head Teacher at the International School of Helsinki. It's a day school with 360 students aged between 3 and 19. There are over 40 nationalities and in this shifting population one third of the students move each year.
Peter has travelled a lot in his professional career. He admits he's a tricky client for any service provider. We phoned him to find out more.
How would you describe your food service?
"Under Finnish law we're required to provide a free school lunch. We also have a mid-morning snack service for the youngest children and a kiosk.
The link between good nutrition, physical development and healthy minds is pretty clear. What children eat at lunch impacts how they perform in class. School food is no longer a can of coke and a plate of chips and we do a lot of work on health and nutrition in class. The restaurant therefore needs to have a good dialogue with students.
At lunch we offer a salad bar, a vegetarian and a meat option. Then come the carbs. There are no desserts or sugary drinks so the food's already healthy on the counter. We also have a wide range among our students, from spicy Indian food to milder Nordic tastes. This needs to be catered for.
This is a school with a family-type of atmosphere. A member of the restaurant staff even said she was looking forward to the end of the holidays so she could meet the kids again. That's good to hear."
"The link between good nutrition, physical development and healthy minds is pretty clear."
What was important for you when looking at suppliers?
First of all, a good client relationship. Good communication is a prerequisite here and before awarding the contract we took in three different bids. We wanted all of them to really understand how distinctive we are.
Then there's quality. Quality in terms of health and taste, but also the strength of the supplier company and it's supply chain. We appreciate local first produce, for example responsibly-sourced meat. The older students are very much aware of these types of questions.
My experience is that there's never been a better understanding of the importance of school food. It's almost like there's been a revolution over the last ten years. Or put it like this, if the food's not good the parent meeting is going to be packed!
Finally, cost per meal. A good supplier has to be competitive.
What are you most pleased with today?
I'm most pleased with the relationship with the team working here. It's not like a revolving door, with personnel changing all the time, as can be the case with outsourced services. We have a permanent catering manager who knows us and knows the kids.
It's the same team this year as last year and it shows they like coming to work. Stability is important and a supplier needs to be able to tell us who our key person will be.
I've eaten enough school food in my career to know that the quality of the food is closely linked to the engagement of the canteen manager and staff."
"We have a permanent catering manager who knows us and knows the kids."
Things that should always be improved.
Our business is education and we want to be able to focus more and more on that task.
The link between food and education is important and you've got to continuously work on a good relationship with students and student councils. You have to make things visible, not least because we all have a tendency to complain about food in institutions.
A supplier needs to listen to student feedback and close the loop, taking note of suggestions and making changes where appropriate.
Which KPIs are most important to follow up on?
Taste. Menu variety. Cost per serving and service friendliness.
You're not going to make everyone happy so it's interesting to follow the number of high-school students who eat lunch. These students have off-school privileges but if they eat lunch elsewhere they have to pay. Approximately 70% take the free lunch, which is pretty good, and the higher that goes the better.
What advice would you give to other buyers of food services?
Go taste the food. And while you're there, go and ask students about their opinion in an attempt to be a more objective.
Get the client relationship right. Make sure the supplier takes your call, listens and understands what you're saying. A good service is about learning what's working and what's not. It's another type of learning journey based on constant reflection.
Student diets are getting more specific. It's like we're all becoming foodies which means labels on the counter are more and more important. You need to clearly communicate what's in the food − and what's not.
Finally, make sure that the restaurant team's friendly with people who smile, make eye contact and generally like being around children. Social relationships are important in a school. Very important.
Read more about The International School of Helsinki.
Don't push, nudge. Here's a how-to guide to eat more greens.


During pregnancy, the impact of weight gain is compounded by the effect of hormones. There is (during pregnancy) an increase in three hormones circulating through a woman's body — relaxin, oestrogen and progesterone — which soften the muscles and ligaments in preparation for childbirth; making mothers-to-be more flexible.
Problems may arise for women who have a mild to moderate degree of overpronation before pregnancy. The added looseness of the ligaments allows the feet to roll in even more than previously. As a result, the feet may spread, elongate, flatten or even precipitate bunions and other foot alignment problems.
If you or a loved one is pregnant now be sure to look at their feet and offer proper guidance. If they're very pregnant they may not have even seen their feet in a while and you'd be doing them a big service to refer them to us at Affiliated Podiatrists.


The CSA Standards is a Canadian counterpart of the UL standards, which is a U.S. certification system to reduce the risk of fire and electric shock in electrical and electronic products. As the United States and Canada have completed an MRA (Mutual Recognition Agreement), certification can be mutually recognized. If CSA certifies a product according to the UL Standards, the certification mark for the product will show the conformity to the UL Standards by C-CSA-US mark (NRTL mark).


text:
Nuclear bombs on America's highways
If ignorance is bliss, that would explain why Americans are so happy. We love our hot dogs; we just don't want to know how they're made.
The same could be said of the inner workings of our government. We want transparency, but we still want to be able to sleep at night. If you fall into that category, you may not want to read on.
A show of hands: How many of you stopped to think about how nuclear weapons and other radioactive material were transported across the country? Not many. For those of you who did, you probably thought it was in secret military cargo planes flying in the dead of night. Think again:
As you weave through interstate traffic, you're unlikely to notice another plain-looking Peterbilt tractor-trailer rolling along in the right-hand lane. The government plates and array of antennas jutting from the cab's roof would hardly register. You'd have no idea that inside the cab an armed federal agent operates a host of electronic countermeasures to keep outsiders from accessing his heavily armored cargo: a nuclear warhead with enough destructive power to level downtown San Francisco.
That's the way the Office of Secure Transportation (OST) wants it. At a cost of $250 million a year, nearly 600 couriers employed by this secretive agency within the U.S. Department of Energy use some of the nation's busiest roads to move America's radioactive material wherever it needs to go—from a variety of labs, reactors and military bases, to the nation's Pantex bomb-assembly plant in Amarillo, Texas, to the Savannah River facility. Most of the shipments are bombs or weapon components; some are radioactive metals for research or fuel for Navy ships and submarines. The shipments are on the move about once a week.
Here's a map of the most-traveled routes. You might want to refer to it when planning your next road trip:
(via The Tea Party Economist)
Labels: Politics, Scary Stuff, Travel
The perfect response in every situation
1903 film footage of Princeton-Yale football game
Light barrier still intact
"Your perfectly pristine papers, please"
Ice Age squirrel key to resurrecting ancient speci...
Girl texting while walking falls on live TV
"Irrefutable evidence" of Siberian yeti?
Confusing school zone speed limit sign
A Presidential Candidate - by Mark Twain
The State Department wants to keep an eye on you
Chuck Norris vs. Angry Birds
Throwable panoramic ball camera
Electric cars more polluting than gas-powered cars
World's largest Scrabble game
The emotional power of music
Long exposure photographs of fireflies
Valentine's Day dilemma
George Lucas's latest blasphemy: Han NEVER shot first
Iran worried U.S. might be building 8,500th nuclea...
"The Monsters Are Due on Westhampton View Court"
Chicken wing...cupcakes?
Mailman who pooped on lawn resumes same route
Fifth grader accidentally discovers new explosive ...
A hilarious guide to mispronouncing words
100-year-old woman doesn't know what she would do ...
What a woman's hands say about her
Now THAT'S what I call heavy traffic
Indonesian twins, separated at birth, meet in Sweden
Build a snack stadium for your Super Bowl feast


text:
92% satisfaction in the National Student Survey 2014
We're very proud to have received a 92% overall satisfaction rating in the National Student Survey 2014.
94% of our students say our staff are good at explaining things and are enthusiastic about what they're teaching.
91% of our students also say that our staff made their subject interesting and that the courses are well organised and run smoothly. 93% are happy with the teaching on their course.
If that's not all The University of Sheffield's Students' Union has been voted the best in the UK for the third year running!
More about our Students' Union and the national student survey ranking.
This entry was posted in News and tagged history, National Student Survey, NSS, satisfaction, Sheffield, Students' Union on August 14, 2014 by James Pearson.
History Ranked Top 100
The University of Sheffield and the Department of History are both featured in the QS World University Ranking 2014's top 100.
We are extremely proud that the Department of History has been ranked as one of the top 100 places in the world to study history.
Click for more detailed rankings on the QS World University Rankings website
This entry was posted in News and tagged history, rankings, Sheffield, top 100 on August 14, 2014 by James Pearson.
The Payroll Union – Reflections on our Philadelphia Project
For the past year the Sheffield-based Americana band The Payroll Union have been working alongside our historians to explore the ways in which we tell stories about the past. An event was held at Library Theatre in Sheffield on 30th May, where the band performed all 13 songs and complimented the performance through images, lyrics and text. A discussion panel was also present to explore the themes of the project.
You can read the band's personal account of the project here.
The Payroll Union's official website
This entry was posted in News and tagged American, Faith and Fear, history, Public Engagement, Sheffield, The Payroll Union on July 7, 2014 by James Pearson.
Stories of Activism: City Activist Walk
Stories of Activism, a city-wide project run by the Department of History which works with activists to collect and record their stories, is holding another City Activist Walk on 2 July at 5.30pm from the Fargate entrance of Orchard Square and invites you to come along.
The project has been working with poet River Wolton to devise and perform the walk, in and around Sheffield city centre using the collected stories to traces the city's activist past and present through its buildings, landmarks and streets. The first walk, held as part of the recent In The City festival was a sell-out and Sheffield filmmaker Gemma Thorpe was commissioned to record it on film. The film can be seen here http://vimeo.com/97475159
If you'd like to come along, tickets are free, but please register at https://storiesofactivismwalk.eventbrite.co.uk
This entry was posted in and tagged City Activist Walk, Historic Walks, history, River Wolton, Sheffield, Stories of Activism on July 2, 2014 by Beky Hasnip.
Two new publications for Benjamin Ziemann
In the past four weeks, Professor Benjamin Ziemann has published two monographs. His award-winning book on the "szientization" of the Catholic Church in the postwar period – described by one expert reviewer of the German edition as 'one of the most important studies in contemporary history published in recent years' – has been published as Encounters with Modernity. The Catholic Church in West Germany, 1945-1975 (New York: Berghahn, 2014).
A few weeks earlier, his book on the Contested Commemorations of the Great War in Weimar Germany, originally published with CUP in 2013, has now been released in German translation as Veteranen der Republik. Kriegserinnerung und demokratische Politik 1918–1933 (Bonn: J.H.W. Dietz, 2014). One recent review of the English version concluded: 'Without doubt, this superb monograph will become compulsory reading for scholars working in the fields of World War I studies and modern European history alike.'
This entry was posted in News and tagged 20th Century, Catholicism, Church, Germany, history, Political History, politics, publications on July 1, 2014 by James Pearson.
Greek and Roman Cities
The Greco-Roman world was one of cities, many of which still shape the landscape of Europe, North Africa and the Middle East today. Yet the ancient city was not only a distinct architectural form, but also the centre of ancient people's lives. Greek and Roman cities were arenas for politics and displays of power and status, venues for culture and entertainment and the backdrop for daily life, worship and death. Ancient ideas and politics, such as monarchy or democracy, developed in and for cities. Studying the ancient city, through its art, architecture and literature that survives today, means understanding the rise and fall of the Greek and Roman world and its heritage to modernity.
The Departments of Archaeology and History at the University of Sheffield are holding a free study afternoon for GCSE Students from local schools and colleges. You will be introduced to ancient Greek and Roman cities and given a taste of what studying History or Archaeology at University is all about. You will have the opportunity to investigate two themes from the table below in small seminar groups, taught by final-year History and Archaeology students, with Dr Julia Hillner, Dr Jane Rempel and Prof Maureen Carroll offering concluding comments.
Seminar Topics may include:
Women in the city
Houses and households
Politics in the city
City and countryside
Cities and Slavery
End of the ancient city
For more information or to book places please contact:
Linda Billam, Schools' Outreach Support Officer, Faculty of Arts and Humanities, University of Sheffield, email: l.billam@sheffield.ac.uk
This entry was posted in and tagged Archaeology, cities, greek, history, Jane Rempel, Julia Hillner, Maureen Carroll, roman, schools, student participation on June 23, 2014 by Beky Hasnip.
Teacher Conference – Teaching History at A Level
The Department of History warmly invites you to a conference for teachers of History at A Level. This unique opportunity will give you the chance to meet professors and lecturers from the University of Sheffield, to refresh your subject knowledge and to learn how we've developed our teaching in recent years. We are pleased to welcome the AQA Chair for A-Level History who will be speaking on the subject of 'The New A Level History'.
You will receive a certificate of attendance to recognise the contribution this activity makes towards your continuing professional development.
The conference is free to attend and lunch and refreshments are also provided.
This year, for the first time, we are also running a 'Teaching Archaeology and Classical Civilisation at A level' teacher conference, taking place on the same day. History attendees have the option to select sessions from both conference schedules, creating a bespoke programme to fit your particular areas of interest. (You will be presented with the options from both programmes at the point of completing the online registration form).
Find out more and register on our website.
This entry was posted in and tagged A Level, Conference, history, teachers, Teachers Conference on June 17, 2014 by Beky Hasnip.
New Histories: Final Issue of the Academic Year – Out Now
Our final issue of the academic year has just been published and you can access it here: http://newhistories.group.shef.ac.uk/wordpress/wordpress/category/issue-5-5-open-theme/
This is the current chief editing team's last issue so as Sam and Kathryn move on, we'd like to thank you for your contributions and support over the last year!
Brad Bosson, Sam Ellis and Kathryn Robinson
Editors-in-Chief of New Histories
This entry was posted in News and tagged history, New Histories on June 2, 2014 by James Pearson.
Speakers: Dr Adrian Bingham, History Department, River Wolton
Date: 17 May, 1-3pm or 22 May, 6-8pm
Venue: Starting Point: Fargate entrance to Orchard Square
Tickets: Free, please register at http://cityactivistwalks.eventbrite.co.uk
Sheffield has a rich and vibrant history of activism. Over the past few years, the Stories of Activism in Sheffield, 1960-present project has been conducting interviews with activists from around the city. The city centre and its immediate surrounding areas are an important part of their stories. Join poet River Wolton and others as we trace the City's activist past and present through its buildings, landmarks and streets. The stories we tell will bring to life again—and update—the famous 'Radical History Walk'. All participants are invited to add their stories as we walk, and contribute to the project's growing collection stored at Sheffield Archives.
This entry was posted in and tagged Adrian Bingham, Historic Walks, history, River Wolton, Sheffield, Stories of Activism on May 22, 2014 by James Pearson.


text:
/*
 * File: test/influxdb-test.js
 * Description: Test script for the metrics-influxdb influx module
 */

var InfluxMetrics = require("../lib/index"),
    expect = require('chai').expect,
    sinon = require('sinon');

describe('influxdb', function() {

  var clock;

  before(function () {
    // We need to control time since e.g. Metric's mean depends on it
      // (being Infinity if no time elapsed)
    clock = sinon.useFakeTimers();
  });

  after(function () {
      clock.restore();
  });

  it('should correctly serialize a counter', function(done){
    var reporter = new InfluxMetrics.Reporter({ protocol: 'udp', bufferSize: 100 });
    expect(reporter).to.be.an.instanceof(InfluxMetrics.Reporter);
    var c = new InfluxMetrics.Counter();
    reporter.addMetric('test.counter', c);
    c.inc();
    clock.tick(1);
    reporter.report(true);
    expect(reporter._influx.points).to.have.length(1);
    expect(reporter._influx.points[0]).to.have.string('test.counter count=1i');
    done();
  });

  it('should correctly serialize a gauge', function(done){
    var reporter = new InfluxMetrics.Reporter({ protocol: 'udp', bufferSize: 100 });
    expect(reporter).to.be.an.instanceof(InfluxMetrics.Reporter);
    var g = new InfluxMetrics.Gauge();
    reporter.addMetric('test.gauge', g);
    g.set(10);
    g.set(15);
    expect(g.points).to.have.length(2);
    clock.tick(1);
    reporter.report(true);
    expect(reporter._influx.points).to.have.length(2);
    expect(reporter._influx.points[0]).to.have.string('test.gauge count=10i');
    expect(reporter._influx.points[1]).to.have.string('test.gauge count=15i');

    g.set(12);
    clock.tick(1);
    reporter.report(true);
    expect(reporter._influx.points[0]).to.have.string('test.gauge count=10i');
    expect(reporter._influx.points[1]).to.have.string('test.gauge count=15i');
    expect(reporter._influx.points[2]).to.have.string('test.gauge count=12i');
    expect(reporter._influx.points).to.have.length(3);

    clock.tick(1);
    reporter.report(true);
    done();

  });

  it('should correctly serialize a meter', function(done){
    var reporter = new InfluxMetrics.Reporter({ protocol: 'udp', bufferSize: 100 });
    expect(reporter).to.be.an.instanceof(InfluxMetrics.Reporter);
    var m = new InfluxMetrics.Meter();
    reporter.addMetric('test.meter', m);
    m.mark(1);
    clock.tick(1);
    reporter.report(true);
    expect(reporter._influx.points).to.have.length(1);
    expect(reporter._influx.points[0]).to.have.string('test.meter count=1i');
    expect(reporter._influx.points[0]).to.have.string('m15_rate=');
    expect(reporter._influx.points[0]).to.have.string('m5_rate=');
    expect(reporter._influx.points[0]).to.have.string('m1_rate=');
    expect(reporter._influx.points[0]).to.have.string('mean-rate=');
    done();
  });

  it('should correctly serialize a histogram', function(done){
    var reporter = new InfluxMetrics.Reporter({ protocol: 'udp', bufferSize: 100 });
    expect(reporter).to.be.an.instanceof(InfluxMetrics.Reporter);
    var h = new InfluxMetrics.Histogram();
    reporter.addMetric('test.histogram', h);
    h.update(50.1);
    h.update(100);
    clock.tick(1);
    reporter.report(true);
    expect(reporter._influx.points).to.have.length(1);
    expect(reporter._influx.points[0]).to.have.string('test.histogram ');
    expect(reporter._influx.points[0]).to.have.string('count=2i');
    expect(reporter._influx.points[0]).to.have.string('min=50i');
    expect(reporter._influx.points[0]).to.have.string('max=100i');
    expect(reporter._influx.points[0]).to.have.string('sum=150i');
    expect(reporter._influx.points[0]).to.have.string('mean=75');
    expect(reporter._influx.points[0]).to.have.string('variance=');
    expect(reporter._influx.points[0]).to.have.string('std-dev=');
    expect(reporter._influx.points[0]).to.have.string('median=');
    expect(reporter._influx.points[0]).to.have.string('p75=');
    expect(reporter._influx.points[0]).to.have.string('p95=');
    expect(reporter._influx.points[0]).to.have.string('p99=');
    expect(reporter._influx.points[0]).to.have.string('p999=');
    done();
  });

  it('should correctly serialize a timer', function(done){
    var reporter = new InfluxMetrics.Reporter({ protocol: 'udp', bufferSize: 100 });
    expect(reporter).to.be.an.instanceof(InfluxMetrics.Reporter);
    var t = new InfluxMetrics.Timer();
    reporter.addMetric('test.timer', t);
    t.update(50);
    t.update(100);
    clock.tick(1);
    reporter.report(true);
    expect(reporter._influx.points).to.have.length(1);
    expect(reporter._influx.points[0]).to.have.string('test.timer ');
    expect(reporter._influx.points[0]).to.have.string('count=');
    expect(reporter._influx.points[0]).to.have.string('m15_rate=');
    expect(reporter._influx.points[0]).to.have.string('m5_rate=');
    expect(reporter._influx.points[0]).to.have.string('m1_rate=');
    expect(reporter._influx.points[0]).to.have.string('mean-rate=');
    expect(reporter._influx.points[0]).to.have.string('min=');
    expect(reporter._influx.points[0]).to.have.string('max=');
    expect(reporter._influx.points[0]).to.have.string('sum=');
    expect(reporter._influx.points[0]).to.have.string('mean=');
    expect(reporter._influx.points[0]).to.have.string('variance=');
    expect(reporter._influx.points[0]).to.have.string('std-dev=');
    expect(reporter._influx.points[0]).to.have.string('median=');
    expect(reporter._influx.points[0]).to.have.string('p75=');
    expect(reporter._influx.points[0]).to.have.string('p95=');
    expect(reporter._influx.points[0]).to.have.string('p99=');
    expect(reporter._influx.points[0]).to.have.string('p999=');
    done();
  });

});


Adjust valve clearance and keep track!!!
I am just to perform the valve addjustment on my CBR Fireblade (929). So to keep track I have made a calculator (with bike selector) to make this easy and safe. I need some feedback and opinions on this one. Andif anyone wants it, I'll email it.
RE: Adjust valve clearance and keep track!!!
Please pm a copy to me. Thanks for your time in putting this together..
could you email to me please?
please could u send me a copy, much appreciated.
I know this is an old thread, but is there somewhere I could get this as well?
sorry to dig up an old thread here, but i need to adjust the valves in my MC19 cbr250r and this sounds extremely helpful!
Is this an excel file? I have hosting, and I can put it on my website so you can just link to it in your post instead of emailing to everyone, if you want.
Quick Reply: Adjust valve clearance and keep track!!!


text:
Atrichopogon hilaris är en tvåvingeart som beskrevs av Bose och Gupta 2003. Atrichopogon hilaris ingår i släktet Atrichopogon och familjen svidknott. Inga underarter finns listade i Catalogue of Life.

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