text:
Today at 11:39 am by Mirja Eeola
Bleach Platinum Hearts RP [Active] :: REALMS OF THE PH UNIVERSE :: New Hueco Mundo Share
Sonido [Training]
Ulqui
Karma : 8
Location : Never Land
Uchiha, Sasuke | 1-2 [TA] Sting, Chikara | 0-3+ [MA] Watanabe, Toshiro | 3-2 [TP] Shinsui, Izanagi | 0-3 [P]
Subject Post 1 Subject: Sonido [Training] Sat Dec 15, 2012 1:14 pm
Template By: [THEFROST]
The night was rather usual in Hueco Mundo, dressed in his usual attire Sasuke prepared to head off and train. With that in mind he raised his right arm, only two fingers visible and performed almost a flick motion which opened up a split in the sky, commonly known as a garganta. He rotated his body to face the garganta as he began to march in, upon doing so the gate behind him instantly shut. He was aware of one thing; training for half hour here would be equivalent to training one thousand hours in either Hueco Mundo or Earth. With that in mind he began.
In a instant he had a training plan and with no time to waste he considered the possibilities of all training methods. Instantly he raised his hand around which Reishi became vastly condensed and shot from his hand throughout the garganta. The moment the Bara discharged from Sasukes hand he performed the move known as Sonido which would naturally drain away his spiritual energy which lead to a conclusion, the training method would only be successful for around twenty minutes before he would have to leave the garganta or die. As he performed Sonido his intention was to out run the speed of his Bara and counter on the other side, a desire that in his current state he couldn't quite attain. As he came to a halt he rotated his body to face the way he had recently come and raised his hand once again in order to shoot out a large concentrated Bara; upon doing so he maximised his speed, with every step he held his breath in, in order to attain maximum speed and potential, yet it wasn't enough. As he came to another stop he couldn't quite keep up with the Bara which prompted some doubt in his training method, however it wasn't anything that would stop him from training to his heart's content.
He turned his body once again, this time he was sure that the Sonido would dominate the speed of the Bara. His keen eyes pinned ahead as he flicked his fingers to send a small ball of bara, all though the strike was highly concentrated it moved at much higher speeds in comparison to the large scale shot of Bara. To which Sasuke instinctively responded with a sudden rush past the Bara; for several second they remained neck and neck up until the optimum speed of the bara was reached and the sheer dominance triumphed over Sasukes Sonido. He wasn't disappointed after all he was reaching his objective, all though he hadn't though that his speed would improve so quickly and so efficiently. Mentally Sasuke kept note of the time and the amount of Reishi he had remaining, if there was even the slightest chance that he wasn't going to have enough to carry on he was to instantly leave the Garganta and recover back in Hueco Mundo.
This time the moment Sasuke came to a stop a shot of bara for escaped from his back which instantly sprung him into further action leading to a extremely fast turn and movement with the help of his Sonido, this time step after step he managed to surpass the Bara up until his speed was maximized yet the bara had a long way to go before it reached it optimum due to which it surpassed Sasukes body. The instant the bara surpassed his body another one formed and shot from his back in the opposite direction of his current movement which lead to a swift turn and Sonido in the direction of the bara. This time, he considered his technique, as he moved he crouched slightly to allow his body to edge over to generate more speed throughout the duration of his movement, all though the crouch posed somewhat effective it only gave a small upper hand, yet Sasuke could feel his Sonido getting faster with every step he took with in the precipitate world. Within his head, something ticked which gave him a insight on the time, due to which he quickly recalled that it had been around four to five minutes since he entered the garganta from Hueco Mundo, which meant he had around ten to fifteen minutes until he would be forced to leave as a precaution.
Instantly Sasuke spun and shot a bara in one direction as he raced on into another, after several steps he took a jump and a swift landing prior to which he shot a compressed ball of bara straight ahead which allowed him more of a challenge as he performed his Sonido in the direction of the Bara. His eyes were fixed and keen, almost like a hawk, his intentions were clear and to the point with that in mind he took in another breath and shot towards the other shot of Bara that had been racing off in the opposite direction. Instantly his speed felt maximised, in four to five steps he managed to reach the end of the Bara, in further seven to eight steps he managed to surpass its speed. Upon doing so his left hand dropped down to his waist where he drew his Zanpakutō, then in a single slash he sliced the bara and rotated his body; no dust was created after all this was the border between the worlds; moments after the rotation he swiftly placed his Zanpakutō back into its holster and looked ahead, by which time his breathing had increased dramatically, fatigue was without a doubt catching up with him. The Reishi required to keep him standing within the precipitate world as well as the Reishi he had been using for the techniques that he had performed, he was aware that he hadn't much more time to spare, only around ten minutes which wasn't enough in his perspective, all though he was planning a return, in order to train with in this world once again in the coming future.
Sasuke stretched the muscles in his body and neck which lead to a small soundless crack. After which he raised his hand in order to perform his Cero, the very same cero that had vast destructive power and would without a doubt knock his time in the garganta down a minute or two. As a large, fierce, destructive purple ball formed near the top his palm it shot out with sheer grace and force in a linear motion heading towards, nothing. As the shot was taken Sasuke broke off from the cero and instantly launched into Sonido remaining parallel to the trajectory of the cero, after all even though the cero was his own it would pose incredible destructive if it was to strike him. Sasukes mouth bobbed open, slightly, in order to draw in the last breath of air as he ran with full might in hopes of surpassing the cero. All though the bara was around twenty times faster than the cero, this would be a good initial start and as predicted it was. Sasuke managed to pass the Cero in around four steps, with in further five or six steps he managed to generate a large distance between his self and the shot of cero which relaxed his worries yet defined his secondary objectives.
Subject Post 2 Subject: Re: Sonido [Training] Sat Dec 15, 2012 5:45 pm
His secondary objectives were as simple as his primary ones; survive and reach maximum potential. In Sasukes calculation the time he would spend in the precipitate world would be equivalent to slightly less than 750 hours of training within the real world, it was rather a huge time margin which made this form of training so effective, yet draining. His fatigued body gracefully rushed through the air as he ran several paces in a single direction, around fifteen feet from his self was the exit to the garganta which would allow him to quickly escape if there was any trouble regarding Reishi upkeep. His body rotated and Bara was shot from the end of his knee, he had rather a unique ability, which allowed him to shoot Bara from any part of his body, it was a good offense and defence and in every way something that would allow him to remain hands free throughout the course of his training. The second, the shot of Bara flew in a single direction from his knee, he entered his Sonido and started off by hopping one step to the left, after his hop he charged forwards, firstly he placed one foot in front of the other in order to cover around half of the distance required to catch up with the Bara; After his second step he managed to surpass the speed of the bara only by five or six centimetres at which point he performed a diagonal hop to his right in order to appear straight in front of the bara, if he was to slow down even a little it would without a doubt strike the hierro off his back, but if he managed to keep away from the bara he would have surpassed one of his objectives thus far.
However it was not to be, in a second or two his pace decreased in comparison with the bara, then he felt a large sharp pain strike his back as the hierro began to be devoured by the strength and speed of the Bara. It instantly put in context the sheer speed required to dodge that sort of technique. With that in mind Sasuke fell to his knees, the pain on his back and legs quickly grew. He had been in here for around fifteen minutes now, but that was fifteen minutes of time on earth which would equal to around six hundred hours, maybe more maybe less, either way he could feel his speed growing, all though it hadn't improved vastly in comparison to the progress he would have on earth or Hueco Mundo the changes were severe. In a total summary, he had around ten minutes, possibly less to advance his Sonido. His analytic nature quickly examined his own body to determine that he would be able to form another five Bara shots before he would have to move out of the garganta and rest to recover his strength.
Momentarily a thought process passed through his head, in order to make that training more efficient in both Reishi and strength wise, he would have to create some form of weapon which would be used especially for this type of training, a weapon that would be able to travel at extremely high speeds upon usage but will return to the wielded upon request. Throughout the process he considered all the ups and downs to the item and the fact the, it wouldn't be used in weapon unless it was to distract someone, he considered the design of the blade or ball and the fabric it would be made from, to make it light and piercing.
Sasukes eyes reflected his fatigue as he gazed at his feet, the strong stable ground was nothing more than a deteriorated line of Reishi. It without a doubt showed that represented the large dip his spiritual pressure had taken since his journey inside the area. Of his time he had around a minute remaining, something he hoped not to waste as he shot Bara from his chest and follow it through.
As the Bara shot from his chest he launched off, in two steps reaching the tip of the Bara, on the third surpassing the speed of the bara by ten fifths, on the fourth and fifth step he managed to create a distance of around ten feet from his self and the Bara, upon the eight and nineth steps he managed to reach the exit of the Garganta, the bara slowly crept up behind him as he approached it. He wasn't going to risk spending more then twenty minutes within the garganta, he was planning to come later for some more training however he considered twenty minutes the current safe limit due to which he promptly collided with the exit and found himself back in Hueco Mundo.
As he returned to Hueco Mundo, his body felt the exhaustion of his intense training. His spiritual energy was only one twenty fifth of its original capacity; his eyes felt strain as they simply desired to shut. It had been less than half hour since he had ventured into the garganta and yet he was already awaiting a good night's sleep. Suddenly the muscles in his legs gave way to the strain that was applied to them, he had arrived back almost perfectly but the fatigue was something to worry about. As his legs relaxed his dropped onto his knees, the sand around them quickly brushed side to side almost engulfing the legs. Following his legs his body dropped to make contact with the sandy ground, it felt rather fluffy and even though Sasuke had some energy within his body he was eager to get some rest, tonight he was going to sleep unlike any other night. His eyes slowly began to shut as the rest of his body began relaxing, the instinctive desire to rest and regain his energy would prove useful for his next adventure into the precipitate world.
Bleach Platinum Hearts RP [Active] :: REALMS OF THE PH UNIVERSE :: New Hueco Mundo


The latest example of free creative pitching has been branded as "extraordinary", "unprofessional", "outrageous" and "dreadful" by the design industry.
The irony of the Government's new Department for Education and Employment asking design consultancies to come up with a host of work is not lost on those refusing to take part. The department itself needs educating about the realities of work, they say.
Whether "happy" is the right word is debatable. The spokeswoman continues: "Government departments must ensure value for money." It's the drive for value for money and the fear of being dragged over the media coals for "wasting" much-needed cash that appears to have led to the decision, allegedly taken at ministerial level, to ask for a free-pitch.
The Whitehall mandarins don't seem to have heard the argument that free-pitching prevents clients from getting the most effective design. The DFEE free-pitch may save a few grand short-term, but what about the long-term?
20 000-worth of preparation work, according to Pentagram partner David Hillman, who is refusing to participate.
The long-term appears as murky as the past when it comes to free-pitching. One of two ways the practice will cease is when all consultancies refuse to do it. The other way is for clients not to request or expect it. Each solution seems as fanciful as the other. Which leaves the industry with one goal – that of minimising the free-pitch.
So the question is how to reduce the number of clients asking for free creative work.
This task of educating clients falls on the Design Business Association, the Chartered Society of Designers and the Design Council. It also falls on individual consultancies angered by free-pitching.
The DBA and the CSD are avowedly anti the free-pitch. It says so in their codes of conduct (see above). The Design Council is a tricky one. Unable to condemn its paymaster, the Government, over the DFEE pitch, the council is left side-stepping the issue, with mutterings about "considering what role it would be appropriate to play".
The council's statement continues: "We will be working with public-sector bodies in the future to help them develop policies which use design as effectively as possible and to ensure value for money." No mention of the free-pitch there.
As for individual consultancies, it's a question of principles against economic pressures. Minale Tattersfield last year garnered the support of more than 100 consultancies willing to pledge not to free-pitch.
The Best Practice Initiative, co-ordinated by the DBA Scotland, has been successful in raising the free-pitch issue, says DBA chief executive Ian Rowland-Hill. It was well-received by consultancies, and is ongoing.
But the free-pitch debate is not all one-way. Black Sun is one of the few consultancies prepared to stand up for free-pitching. "Free-pitching gives the opportunity to consultancies that are not as well known as the market leaders to get business," says Tony Vines, managing director.
"Somehow you have got to get a client to look at your work. And although this may be an expensive exercise, it is a way of getting new business. It has got to be noted that not one major player in the corporate literature field signed Marcello Minale's push to ban free-pitching," he adds.
One of the moot points muddying the free-pitch issue is the semantics of the many terms used as part of the process. How free is free, when even a presentation costs money?
The issue becomes more complicated when what would be regarded as a blatant free-pitch in one design discipline may be the norm in another.
While the various design bodies have been slow in defining the plethora of terms, it would be safe to assume that the bottom line is – if you're doing work that a potential client isn't paying for, you are free-pitching. The rest is just how each company chooses to phrase asking designers to submit work for free.
CSD president elect and chairman of The Jenkins Group Nick Jenkins pledged last October to "correct the situation" during his CSD tenure. The basis of Jenkins' argument is that without defining what actually constitutes a free-pitch, the problem of client and consultancy education will remain an uphill battle.
These are questions design's trade bodies need to resolve.
The Jenkins Group research into annual report design buyers found that free-pitching was on the increase in the annual reports sector. The following comments provide a client's-eye view of the issue.
"[The paid creative pitch] gives you a demonstration of good ideas for the report from a range of agencies. It also keeps the incumbent on their toes to have to re-pitch – they continually have to give good service and ideas." (This company paid from 500 to 1000 to companies it did not appoint).
"We wanted to establish the design route early on through the creative pitch, with the initial shortlist of four having been drawn up from their previous work. I feel very strongly that creative work from any agency should be paid for." – Malcolm Scott, Scottish Power, which pays 1000 per pitch.


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Stiven van Zandt (; rođen 22. novembar 1950. u Bostonu, Masačusets (SAD)) je američki muzičar, tekstopisac, glumac, producent i radijski di-džej. Najpoznatiji je kao gitarista u "I Strit bendu" () Brusa Springstina, ali i po ulozi Silvia Dantea u američkoj televizijskoj seriji "Porodica Soprano" ().

Muzička karijera
Stiven van Zant (rođen kao Stiven Lento; prezime je preuzeo od svog oca) je još kao mladić, kao i većina ljudi njegove generacije, imao želju da osnuje svoj rok bend, posebno nakon što je na televiziji gledao izovđenja Bitlsa. U ostvarenje svog sna krenuo je zajedno sa Brusom Springstinom, takođe Amerikancem italijanskog porekla, koji je u to vreme već promenio nekoliko bendova. Njih dvojica su tokom šezdesetih i sedamdesetih godina zajedno nastupali sa više različitih grupa, a u međuvremenu su postali i veoma bliski prijatelji. Iako je frontmen bendova "Fabrika Čelika" () i "Bend Brusa Springstina" (), sa kojima su nastupali, bio sam Springstin, van Zant nije bio stalni član tih bendova sve do 1975, kada se zvanično priključio Springstinovom "I Strit bendu".

Van Zandt, koji je bio poznat i pod nadimkom "Majami Stiv Van Zant", je paralelno nastupao sa još jednim izvođačem iz Nju Džerzija, Džonom Lajonom, sa kojim je formirao bendove -{Southside Johnny and the Asbury Jukes}-, a bio je i član Filadelfijskog benda "Dovelsi" (), čiji je singl "Bristolski Stomp" () ostvario milionski tiraž. Van Zant je održavao saradnju sa bendom -{Southside Johnny and the Asbury Jukes}-, radeći kao producent na njihovom demo snimku koji im je obezbedio ugovor sa izdavačkom kućom "Epik", a kasnije je bio i producent na njihova prva tri albuma.

Ulogu producenta, tačnije jednog od njih, imao je i na albumima Brusa Springstina, "Reka" () (1980) i "Rođen u SAD" () (1984). Van Zant je takođe formirao i svoju grupu "Mali Stiven i Učenici Duše" () ranih osamdesetih koja je između 1980. i 1989. izdala pet albuma. Iako pesme njegovog benda nisu imale uspeha na top listama, rad Stivena van Zanta sa grupom "Mali Stiven i Učenici Duše" ostao je zapamćen po angažovanju u nekim političkim problemima, posebno vezanim za konzervativnu politiku predsednika SAD-a Ronalda Regana.

Početkom devedesetih, u periodu kada nije izdavao svoje albume, Stiven je radio kao producent za druge izvođače i -{soundtrack}- albume. Godine 1995. ponovo se priključio Springstinovom "I Strit bendu" radi novih nastupa vezanih za izdavanje albuma najvećih hitova. 2001. godine učestvovao je u organizovanju niza koncerta na kojima su nastupali "garažni" rok bendovi.

Aktivizam
Године 1984, godine, van Zant je napustio "I Strit bend" radi potrage za drugim interesovanjima. Svoj status poznatog muzičara koristio je u boribi protiv aparthejda, vladine politike rasnog razdvajanja u Južnoafričkoj Republici. Van Zant je okupio izvođače kao što su Bob Dilan, Boni Rajt, Bono, i Brus Springstin, sa kojima je osnovao organizaciju od naziovm "Ujedinjeni umetnici protiv aparthejda" (), koja je snimila album "Sunčani Grad" () 1985. godine. Singl, koji je nosio isto ime kao i album, pozivao je muzičare da bojkotuju južnoafrički resort Sunčani Grad. Ova organizacija je bila samo početak rada Stiven van Zanta u aktivizmu. Kasnije je radio na podizanju svesti o mešanju američke vojske u rad vlada Srednje Amerike i mnogim drugim problemima.

Karijera na radiju
Године 2002, godine Stiven van Zant je krenuo da radi kao voditelj radio emisije pod naziovm "Podzemna garaža Malog Stivena" (), čija tema je bila njegova neumiruća ljubav prema "garažnom" roku, panku, "R&B" i psihodelik muzici. Emisija je brzo postala popularna među slušaocima, a emitovala se i preko dve satelitske radio mreže. 2006. godine "Podzemna garaža" počinje da se širi; Stiven prvo osniva izdavačku kuću pod nazivom "Opako kul ploče" (), a godinu dana kasnije i "Rokenrol zauvek fondaciju" (). Prvi projekat ove fondacije je bila "Srednja škola rokenrola" (), koja je izučavala svetski bitne događaje u svetu rok muzike kroz decenije. Van Zant je kasnije imenovan na poziciji direktora muzičkog komiteta hit video-igre Rok bend (), gde je bio zadužen za pronalaženje nove muzike za video-igru.

Glumačka karijera
Nakon što je scenarista i producent Dejvid Čejs video Stivena na jednom od njegovih nastupa, dobio je inspiraciju da za njega stvori ulogu koja će van Zantu omogućiti još veći auditorijum i publicitet nego njegova muzička karijera. Pozvao ga je na audiciju za ulogu Tonija Soprana, glavnog lika u televizijskoj seriji koju je Čejs u to vreme pripremao, iako Stiven nije imao glumačkog iskustva. Međutim, van Zant nije želeo da oduzme ulogu pravim glumcima, pa je Čejs za njega napisao ulogu Silvia Dantea, i to na osnovu lika istog imena koji je junak kratke priče koju je Stiven van Zant napisao i pokazao Dejvidu Čejsu.

Silvio Dante je u seriji savetnik (-{consigliere}-) Tonija Soprana, šefa najveće mafijaške organizacije u Nju Džerziju i glavnog lika serije. Stivenova žena Maurin van Zant se takođe pojavljuje u "Porodici Soprano", i to kao Silvijova žena Gabrijela.

Iako je nakon završetka snimanja serije više puta izjavio da nema nameru da nastavlja glumačku karijeru, Stiven se od početka februara 2012. pojavljuje kao glavni lik u norveškoj komičnoj tv seriji -{Lilyhammer}- koja prati život američkog mafijaša (van Zant) koji beži u ruralne delove Norveške nakon svedočenja protiv pripadnika bivše zajedničke mafijaške grupe.

Reference

Spoljašnje veze

Спољашње везе

Спољашње везе

Рођени 1950.
Амерички глумци
Амерички музичари

redpajama_set_name: RedPajamaWikipedia


text:
Someone Else's Song
Tongue-Tied Lightning
After The Show
How to Fight Loneliness
Speakers Speaking In Code
Greatest Lost Track of All Time
Reflecting Off Of Your CD
In a Future Age
Short On Long-Term Goals
Solid-State Technology
Lyrics and Tabs
VC Tribute Projects
Solid Sound Fest (Facebook group)
Tweedy Show Client Union (Facebook group)
Jeff Tweedy — 5 January 2023, Los Angeles, CA (Largo at the Coronet Theatre) [Night 1 of 4]
By bböp,
January 6 in After The Show
bböp
Mr. Cheeztastic
For as long as some of us had waited and hoped for the Jeff Tweedy and Largo universes to collide (and for that collision to produce, if not sparks, then at least a strong mutual admiration), it's important not to take what has seemingly become an annual ritual for granted. Sure, now that Jeff has been playing multi-night solo runs at the beloved West Hollywood venue for a decade, there's less speculation about the format of the shows or wonder at simply seeing him perform on a stage shared by so many musical and comedic legends.
And though there's always a danger with more than a few performances of one blending indistinctly into the next, it's a testament to both Jeff and Largo that each night still leaves room for a special blend of surprise, sincerity, snark and songcraft. Certainly tonight, on the first night of this year's four-night run, we got all of that in spades.
Following an unannounced and rather graphic opening set by comedian Margaret Cho that featured a story about anal sex and the need to clean one's, ahem, rectal opening, Jeff set the tone for his 85-minute show by walking on stage and announcing that he "would've been out sooner, but I needed to wash out my asshole." The first of many well-played comedic segues over the course of the evening. Another came five songs in when Jeff's guitar tech came out for the first time to hand Jeff a different guitar. The tech, Cash, wore a dark knit hat, dark shirt and dark jeans very reminiscent of Jeff's outfit, a fact which the latter could not let go uncommented upon. "I make everyone who works for me dress like me," Jeff quipped, making Cash come back out for a side-by-side comparison as the crowd cheered. "Some people think it's a power trip. I just think he looks nice."
As the show progressed, Jeff had minor flubs with a couple of songs and discussed them as only he can. For instance, after he seemed to stumble on a lyric in New Madrid, he paused briefly and did a few comical lunges as if he needed to stretch out more and then explained that what really happened was he had started to think mid-song about how he had been playing the song on banjo earlier — "because that's something I know how to do now" — and that he started to wonder why he wasn't playing it on banjo during the show, which is something new that people might want to see instead of seeing him play it on acoustic guitar for the five millionth time and that ultimately led to his flub. Jeff suggested that he might indeed perform the song on banjo at some point later in the run.
Of course then came, almost certainly, the musical highlights of the show — but not before a bit more amusing banter. Jeff had put on his harmonica rack, which always draws a few murmurs from the audience and often that leads Jeff to discuss how "stupid" harmonicas are, his belief that anyone in the crowd could play one and that he always feels a bit embarrassed for getting a big cheer when he blows, like, two or three notes. He said he was knocking everyone from himself to Bob Dylan and Neil Young, and someone in the audience mentioned the name of Blues Traveler frontman and harmonica player John Popper. That got Jeff onto a tangent, during which he shared how he had toured with Popper during the late 1990s on the H.O.R.D.E. Festival tour, and how he had developed "one of my steadfast axioms: If you can play Flight of the Bumblebee on any instrument, you should stop." Apparently Jeff got sick of hearing Popper play the Rimsky-Korsakov composition every night during the tour and also shared how Popper had apparently skipped him while handing out cigars to other performers as post-tour gifts. That got Jeff even further down the rabbit hole of saying cigars were bad for you anyway and, like Flight of the Bumblebee, if you smoke them, you should just stop. (He also took a similar shot at golf, haha.)
"I'm sorry, now I'm in a mood," Jeff told the audience. "I fucked up a song and now I'm taking it out on you."
But he more than made up for it, first with a lovely performance of Many Worlds augmented by the aforementioned harmonica around his neck (after a very brief back-and-forth with a front-row nerd, Jeff confirmed that it was the first time he had performed that song by himself). Then he switched to a 12-string guitar and followed up Many Worlds with another Cruel Country deep cut, Country Song Upside Down, and then the crowd-pleasing Pot Kettle Black. The latter, Jeff admitted, was "gonna be hard," but he performed it without a hitch, and I have to say that the 12-string really sounded great within the intimate Largo confines. (Jeff, of course, had to subsequently, and jokingly, chide the crowd for being so "typical" and liking the song off Yankee Hotel Foxtrot and then noted how weird it is that a 20-year-old album is nominated for a Grammy for best historical recording, which made it sound like "it's a wire recording of Carl Sandburg.")
Then, once again, the show shifted gears as Jeff got into his most earnest mode and shared something that I can't remember hearing him say before, which is that he really wanted people to think of some of his newer and quieter songs as being played by himself on a piano. He admitted that he couldn't play the piano very well at all, but that was the effect he was trying to get across on a very gently played guitar. He said this by way of an introduction for a new song that I don't believe he's played before (or at least that I don't remember hearing) that apparently is called "Having A Hard Time," and whose chorus seems to hint at a continuing struggle with mental health: "I'm fine/I'm having a good time/I'm lying/I'm having a hard time, too/It's nothing new." Jeff sang it in almost a falsetto voice, and it really packs an emotional punch (which, naturally, Jeff had to joke about afterward, snapping his fingers sarcastically while saying, "That's a happy little song. I'm gonna pep it up; whistle that on your way home.")
Almost certainly I'm missing some additional visits to Banter Corner or other noteworthy moments — there was, for example, one very well-executed dig at the ongoing circus that is the U.S. House of Representatives — but hopefully I've hit the highlights. Suffice it to say there was a lot of music and chat packed into a relatively short amount of time, and if tonight is an indication of how the rest of this year's Largo run will go, then I'm excited to see what the next three nights have in store.
Here was the complete setlist, as played, for Night 1 at Largo (2023 edition):
I Am My Mother
Cruel Country
Tonight I'll Be Staying Here With You [Bob Dylan]
Little Lies [Fleetwood Mac]
Tired Of Taking It Out On You
Dawned On Me
New Madrid
Many Worlds (w/harmonica)
Country Song Upside Down
Pot Kettle Black
new song-Having A Hard Time
I'm The Man Who Loves You
One True Vine
Laminated Cat (aka Not For The Season)
Albert Tatlock
Flying Burrito Brother
Interests:Multifarious
Ta LA
theashtraysays
High at the Wheel
Location:Lexington, Kentucky
Nary a bit o' rust (for either of you) after the wee break.
Magnetized
I Must Be high
Location:Norfolk, VA
Great write up, as usual. Next best thing to being there. Fascinating to hear about the new song, both lyrically and the way he sang it. I'll keep my fingers crossed that he shares it on Starship Casual at some point, but there's nothing like hearing it for the first time in a setting like Largo.
Keep 'em coming!
Sun Caught Fire
Pop Quiz Kid
Perfect write up and always remind me of little things I would have forgotten. One other little remark I thought was funny was after each cover he said something like yeah I just wrote that" and after his lyrical flub interlude during New Madrid he then quipped "yeah I didn't write that one" as if the legitimate excuse for messing it up. In addition to how special it is to see Jeff in really the smallest/most intimate setting on his touring schedule, it becomes obvious very quickly just how incredibly comfortable he feels there and how he plays off of the comedic feel of the room by always bringing his "A" comedy chops.
Location:Obnoxiously Canadian
Another great recap bbop!
4 hours ago, theashtraysays said:
I always dry thoroughly after a wee break to avoid rust.
Brian F.
I Am Trying to Break Your Heart
For the record-- and I believe this has come up before-- Largo is not in West Hollywood. It is in the city of Los Angeles. The West Hollywood/Los Angeles line snakes in such a way that everything on La Cienega from Rosewood Ave. (where Norm's is) south is in L.A.
59 minutes ago, Brian F. said:
A surveyor I am not. You win.
22 minutes ago, bböp said:
It is not a competition. I just think it's important for people to know that, if stuff goes down-- and these shows teeter on the edge of a riot at times-- you'll need to call the L.A.P.D. to respond. The Los Angeles County Sheriff's Department, which polices WeHo, has no jurisdiction at Largo. (Actually, arguably the only entity with jurisdiction at Largo is Flanny, who runs it as a sort of benevolent dictatorship.)
...But seriously, I would probably just call 911 if order needed to be restored but I can never remember the number.
TweedyShowFan
A Cherry Ghost
Paul - You make me sad I'm not there but, as always, at the same time you make such a vivid portrait that I feel like I was there. Thank you (as always). Everlasting everything.
Location:Charm City
Thanks Paul! 🙏
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While glammed up style has always been her signature, Mary J. Blige went in a totally new direction for her recent role in the Dee Rees film Mudbound.
Blige went makeup-free for her role as Florence in the dramatic picture — which she admits was a big challenge.
"Florence came at a time when I was really low, feeling super insecure, not sure of my life, not sure of even who I was. I didn't really realize that I was hanging onto so many things of the world that made me feel beautiful," Blige revealed, in an interview with Variety.
Rees convinced Blige to fully inhabit her role as Florence by going barefaced, though Blige initially resisted.
"I was fighting to keep lashes. I was fighting for fingernails, and fighting for wigs and things like that. And I just didn't wanna strip down, because I just was afraid," she says.
Set in the post WWII south, Mudbound centers around black soldiers returning home after war and dealing with racism.
The role marks a major career shift for Blige, whose film credits are mostly comprised of soundtracks, comedic roles, and lighter fare.
Mary J. Blige Wears Maticevski and More.
Mary J. Blige Covers New York Magazine.
Mary J. Blige Covers Grey Book Volume 1. Images by Spencer Ostrander.


Italy is a European country with a long Mediterranean coastline, which has left a powerful mark on Western culture and cuisine (mmmm pasta!). Its capital, Rome, is home to the Vatican City as well as landmark art and ancient ruins uch as the Roman Forum, Trevi Fountain and the Colosseum. Other major cities in Italy include Florence, Venice, and Milan.


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Q: Mongoose not honoring schema and inserting wrong data types I'm having a strange problem with Mongoose not honoring the schema I've defined. I am passing data that properly conforms to the specified schema, however I'm either encountering cast errors, or the data (when I exclude the information that fails to cast) is ending up in mongo  as the wrong datatypes.
The schema is as follows:
var mongoose = require('mongoose');

var Schema = mongoose.Schema;

var AccountSchema = new Schema({
    userId: { type: Number, unique: true, dropDups: true },
    referralCode: String,
    dateStarted: { type: Date, default: Date.now },
    accountType: Number,
    accountCategories: [String],
    beneficiaries: [{
        id: Number,
        relationshipType: Number,
        percentage: Number,
        firstName: String,
        lastName: String,
        middleInitial: String,
        mailingAddress: {
            address1: String,
            address2: String,
            address3: String,
            city: String,
            state: String,
            country: String,
            postalCode: String
        },
        ssn: String,
        birthDate: Date,
        isPrimary: Boolean
    }],
    accountOwner: {
        firstName: String,
        lastName: String,
        middleInitial: String,
        birthDate: Date,
        ssn: String,
        phoneNumber: String,
        mailingAddress: {
            address1: String,
            address2: String,
            address3: String,
            city: String,
            state: String,
            country: String,
            postalCode: String
        },
        physicalAddress: {
            address1: String,
            address2: String,
            address3: String,
            city: String,
            state: String,
            country: String,
            postalCode: String
        }
    },
    fundsTransfer: {
        bankName: String,
        type: Number,
        transferType: Number,
        routingNumber: String,
        accountNumber: String,
        currentYearAmount: Number,
        previousYearAmount: Number
    },
    accountTransfer: {
        accountType: Number,
        custodianName: String,
        accountNumber: String,
        phoneNumber: String,
        faxNumber: String,
        cashAmount: Number,
        cashPortionOptions: Number,
        expediteOption: Boolean,
        otherAccountType: String,
        planType: Number
    },
    wizardFlags: {
        doCashContrib: Boolean,
        doCashTransfer: Boolean,
        doCashContribAndTransfer: Boolean,
        doAssetTransfer: Boolean
    }
});

var Account = mongoose.model("Account", AccountSchema);

module.exports = Account;

The data being passed in is as follows:
this.mockAccountState = {
    userId: 9,
    referralCode: "",
    dateStarted: Date.now(),
    accountOwner: {
        firstName: "Test",
        lastName: "User",
        middleInitial: "X",
        birthDate: null,
        ssn: "123-45-6789",
        phoneNumber: "(123) 456-7890",
        mailingAddress: {
            address1: "123 A Street",
            address2: "",
            address3: "",
            city: "A City",
            state: "CO",
            country: "US",
            postalCode: "12345"
        },
        physicalAddress: null
    },
    accountType: 0,
    accountCategories: [],
    fundsTransfer: {
        bankName: "",
        type: 0,
        transferType: 1,
        routingNumber: "123456789",
        accountNumber: "111222333444",
        currentYearAmount: 6000,
        previousYearAmount: 0
    },
    assetTransfer: {},
    hasBeneficiaries: false,
    beneficiaries: [],
    wizardFlags: {
        doCashContrib: true,
        doCashTransfer: false,
        doCashContribAndTransfer: false,
        doAssetTransfer: false
    }
};

If I pass in a non-empty string value for bankName, I get the following error:

Error updating account: CastError: Cast to number failed for value
  "Bank of Test" at path "fundsTransfer"

If I exclude bankName, then the data that actually ends up in the database is as follows:

If I select this data using the mongo shell, I get:
{
    "_id" : ObjectId("536ae87342d6347028b42e1e"),
    "userId" : 1,
    "referralCode" : "",
    "accountType" : 1,
    "wizardFlags" : {
        "doAssetTransfer" : false,
        "doCashContribAndTransfer" : false,
        "doCashTransfer" : false,
        "doCashContrib" : true
    },
    "accountOwner" : {
        "mailingAddress" : {
            "postalCode" : "12345",
            "country" : "US",
            "state" : "CO",
            "city" : "A City",
            "address3" : "",
            "address2" : "",
            "address1" : "123 A Street"
        },
        "physicalAddress" : {  },
        "phoneNumber" : "(123) 456-7890",
        "ssn" : "123-45-6789",
        "birthDate" : null,
        "middleInitial" : "X",
        "lastName" : "User",
        "firstName" : "Test"
    },
    "beneficiaries" : [ ],
    "accountCategories" : [ "3" ],
    "dateStarted" : ISODate("2014-05-08T02:14:05.379Z"),
    "__v" : 0,
    "accountTransfer" : {  },
    "fundsTransfer" : {
        "bankName" : null,
        "type" : 0,
        "transferType" : 1,
        "routingNumber" : 123456789,
        "accountNumber" : 111222333444,
        "currentYearAmount" : 6000,
        "previousYearAmount" : 0
    }
}

However the data that Mongoose actually returns is:
{
    "dateStarted":"2014-05-08T02:14:05.379Z",
    "accountCategories":["3"],
    "beneficiaries":[],
    "accountOwner":{
        "mailingAddress":{
            "address1":"123 A Street",
            "address2":"",
            "address3":"",
            "city":"A City",
            "state":"CO",
            "country":"US",
            "postalCode":"12345"
        },
        "physicalAddress":{},
        "firstName":"Test",
        "lastName":"User",
        "middleInitial":"X",
        "birthDate":null,
        "ssn":"123-45-6789",
        "phoneNumber":"(123) 456-7890"
    },
    "accountTransfer":{},
    "wizardFlags":{
       "doCashContrib":true,
       "doCashTransfer":false,
       "doCashContribAndTransfer":false,
       "doAssetTransfer":false
   },
   "__v":0,
   "accountType":1,
   "referralCode":"",
   "userId":1,
   "_id":"536ae87342d6347028b42e1e"
}

The fundsTransfer child object isn't even present, even though it is definitely in mongodb.
I'm quite confused. I don't understand why the rest of the schema works, but the fundsTransfer object simply refuses to work. The data and the schema match, something somewhere, I am quit

A: In AccountSchema, you need to change the type field definition from:
type: Number,

to
type: {type: Number},

Otherwise, Mongoose thinks you're defining the type of the parent fundsTransfer object as a Number instead of defining a field named 'type' within it.

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ABOUT: Running on Taito's Type X arcade board, Chaos Breaker is a fantasy-themed sprite-based 2D fighting game with characters that look to be out of the Dungeon's & Dragons or World of Warcraft realm. Players select a team of three characters, much like in the King of Fighters series. There are six different races featured in the game including: human, dark elf, elf, ork, dwarf and undead.
In Chaos Breaker, players can also collect various RPG-inspired items and can use them as they advance through each level. There are many different items in this game including: healing potions, protection rings, magical scrolls, spears, hammers, defense shields, invisible cloaks, wind boots, death staffs, lucky coins, and life absorption swords.
In 2004, the title released exclusively in Japanese arcades. After 6 years without any sort of console release, Chaos Breaker has been confirmed for release on PSN this Summer under its pre-production name, Dark Awake: The King Has No Name. The publisher Recom acquired the rights to the game and is bringing it to the PS3 this Summer for 2000 yen in Japan! No confirmation on US/EU dates just yet. The home version will have trophy support, online mode with ranking, and practice mode.
That is one mean-lookin' troll.
I heard about Chaos Breaker a few years back, but finding any information or even screenshots of the game seemed like a lost cause (which is primarily why the game wasn't featured on TFG). From what I've seen, it's a very sharp-looking and well-animated 2D fighter and the character designs aren't bad either.


Jinja as a tourist destination offers a unique safari since it offers get a chance to adventure different features and activities unique to Uganda. Our company provides private day tours to Jinja mainly because they a tailored to the client's needs. There are several activities to choose from, whether you are on a romantic holiday or organizing a cooperate event.
If you are in love with water sports, this adventure on the Nile is the best for you. The thunderous falls are great for rafting, kayaking and bungee jumping is a great opportunity to touch the foot of the falls on River Nile. Rafting can be done on a half or full day package.
Pick up is at 6:00am after breakfast at the Hotel for early morning drive on Jinja highway. Our first stop will be at the Historical Ssezibwa waterfalls, about 32 km east of Kampala city in Mukono District, for 1hr. The falls are roughly 7m high with water swishing over the rocks joyfully. The beautiful serenity-pool at the bottom created by the falling water forms beautiful scenery together with the natural vegetation covering the rocks.
This site has several bird species presenting an opportunity for bird watching. You may also engage in rock climbing, canoeing, hikes, nature walks to surrounding communities and camping if you have more days for you safari.
We proceed to Mabira forest , the main enduring indigenous forest in Central Uganda, covering over 300 sq. km , located in Buikwe District along Kampala-Jinja road. Here we will go for a forest walk for 2hrs. Mabira forest is a bird lover paradise inhabiting over 300 birds species and several primates. You will be able to see birds like the African Grey parrot, hornbill species, rare blue swallow, sunbirds, weyn's weaver mainly at the forest-fringed pond. The walking trails through canopys, valleys with papyrus swamps and patches of grassland, you will have a good view of the white colobus, red tailed monkey, Grey-cheeked mangabey and blue duiker monkeys.
We then continue to Jinja to have lunch at one of the hotels overlooking the River Nile. Then leave for an afternoon drive to Ripon Fall and a Boat Ride to the source of the Nile and Lake Victoria where you will take great pictures for future memories.
Later visit Jinja town once the industrial capital of Uganda but turned residential with many old Indian styled structures in which many Indians lived during the pre-Amin era. There is a place where you can buy Ugandan crafts if you are interested. At the end of the Jinja town tour you will navigate to Bujagali Falls which lies 9km from Jinja north of the town. This was named after an African spirit Bujagali which was said to have occasionally floated on a piece of bark cloth down the river. Then drive back to Kampala.
Remember,you may decide to relax by the source of the Nile with some cold drinks or extend you tour to take part in more activities. Let us know your interests and organize a Jinja tour with more activities and more day.


Abstract. Often overlooked in studies of ice growth is how the crystal faces grow laterally. This paper explores the implications of such lateral-type growth and how it may explain air pockets and other secondary features of vapor-grown ice in air. For example, using a new crystal-growth chamber, we observed air pockets forming at crystal corners when a sublimated crystal is regrown. This and other observations support the idea that the lateral spreading of a face, and its (in some cases) extension as a thin overhang over the adjoining region, is driven by a flux of surface-mobile admolecules across the face to the lateral-growth front. Inspired by recent work on this topic by Prof. A. Yamashita of Osaka Kyoiku University, we call this flux adjoining surface transport (AST) and the extension overgrowth protruding growth , then apply the concepts to observed ice and snow crystals, including some from a cloud chamber and others from our experiments. We also suggest that such lateral-type growth may explain other air pockets, droxtal centers in dendrites, hollow terracing and banding, multiple-capped columns, scrolls, trigonals, and sheath clusters. For dendrites and sheaths, AST may increase their maximum dimensions and round their tips.
How to cite: Nelson, J. and Swanson, B.: Air pockets and secondary habits in ice from lateral-type growth, Atmos. Chem. Phys. Discuss., https://doi.org/10.5194/acp-2019-280, in review, 2019.


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Being a peer buddy allows students with and without disabilities to support each other throughout their school day. This may include interaction during general education classes, extra-curricular activities, service learning, community-based instruction and other school activities. For many students, becoming a peer buddy is the first time they have had the opportunity to form a close relationship with a student with a moderate to severe disability, and as they spend time together they have the opportunity to teach each other an extraordinary amount about each other's strengths and challenges, as well as how their similarities outweigh their differences!
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Lord Tennyson Elementary School had a great showing at the RBC Race for the Kids on Sunday. We had 38 registered runners on the Tennyson Tiger team and many more supporters who came out to cheer us on and enjoy the fun day!
Collectively, the RBC Race for the Kids, raised $1 million dollars for BC Children's Hospital and we could not have done this without the support of the runners, and family and friends who supported us!
A reminder for all registered runner to gather and submit your donations so we can put a final tally to Tennyson's contribution. Thank you for supporting such a great cause for BC Kids!


Python 3.3 doesn't use address space layout randomization  and data execution prevention  on Windows. ASLR and DEP make certain kinds of attacks harder. An attacker can't predict the address of functions or globals anymore and DEP helps against NOP sled attacks.
Python's test suite runs fine with DEP and ASLR on AMD64. I see a crash in test_capi and a couple of crashes in test_faulthandler but these don't seem to be related.


When Helen jogs, every minutes she checks the total distance she traversed. One day, the first time she checked, Helen had jogged a distance of miles, the second time she checked, she had jogged a total distance of miles, and the third and final time that she checked, Helen found out that she jogged a total distance of miles. What is the difference between her average speeds, in miles per hour, during the first minutes of jogging and the last minutes of jogging?


text:
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Homepage » News » news gossip » MGM Exec On The Search For Daniel Craig's 007 Replacement
MGM Exec On The Search For Daniel Craig's 007 Replacement
1 December 2021 by bourbiza-3 views
MGM's Motion Picture Group President Paula Abdy has commented on who will become the next James Bond after Daniel Craig's 007 retired in No Time To Die.
It's hardly a surprise that one of the biggest commercial hits of the year was Daniel Craig's final outing as 007: No Time To Die. The James Bond film has grossed over $750 million at the box office and is still filling up seats worldwide. Audiences showed up in droves when it was confirmed via the film's marketing that this would be Craig's final outing as 007, a character he's played for nearly two decades.
Now that No Time To Die has succeeded as the ceremonious end to Daniel Craig's five-picture stint as James Bond, all eyes are on who will replace him. Fan speculation aside, there haven't been any concrete details or hints from the brass over at MGM, who has been a part of the 007 franchise since its cinematic inception via United Artists, one of its many subsidiaries.
In an interview with The Hollywood Reporter, MGM exec Paula Abdy commented on Daniel Craig's replacement, maintaining the same sentiments the franchise's producers expressed earlier this year.
"It's wide open. We've had very early preliminary conversations with Barbara [Broccoli] and Michael [Wilson], but we wanted Daniel to have his last hurrah."
Well, it looks like things are being kept under wraps over at MGM. No Time To Die is still a valuable, albeit less exciting play at the box office and it wouldn't make sense to undermine the film's performance with a casting announcement. Besides, the James Bond project is still fresh in the minds of audiences, so it might be best to space out any announcement.
Here is the plot synopsis for No Time To Die:
Bond has left active service and is enjoying a tranquil life in Jamaica. His peace is short-lived when his old friend Felix Leiter from the CIA turns up asking for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.
Directed by Cary Joji Fukunaga, No Time to Die stars Daniel Craig, Ralph Fiennes, Naomie Harris, Ben Whishaw, Lea Seydoux, Rory Kinnear, Jeffrey Wright, Rami Malek, Ana de Armas, Lashana Lynch, Billy Magnussen, David Dencik, and Dali Benssalah.
No Time To Die is now playing in theaters and available on video on demand. Stay tuned for all the latest news on the future of the franchise and be sure to subscribe to Heroic Hollywood's YouTube channel for more original video content!
Source: The Hollywood Reporter
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Ira is a city in Michigan. So far we have accumulated 0 streets in Ira and on these streets we have added 0 real estate properties.
Ira is a town in Rutland County, Vermont, United States. The population was 432 at the 2010 census. It was named for Ira Allen, brother of Ethan Allen, who fought with the Green Mountain Boys of the Revolutionary War.


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text:
Jimmy Eat World Return with Two New Tracks
Stream "Love Never" and "half heart" now
Emo veterans Jimmy Eat World last delivered a full-length album with Integrity Blues back in 2016, but they've just unveiled a preview of some new material.
The band have shared two new songs, called "Love Never" and "half heart." Both tunes arrive with accompanying music videos, and you can stream both of those down below.
The visuals imply that the pair of songs might be getting a 7-inch single release, but for now, check them out digitally in the players below.
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text:
Q: Display show more in uitableview By default each section should show maximum three cells. If any cell contains more than three cells, it should display 'show more' option.If show more is tapped I want to display the rest of the cells in that particular section. Two days I spent, nothing worked out.Segments at the top of the table. Depend on segment selected, tableview load the cells. This code for each segment each section varies, so the func cellForRowAtIndexPath: becomes big seriously very big. I roughly added code. This code is what i have tried.
if segmentName == .Feature || segmentName == .Services
    {
        if indexPath.section == 0
        {
            if boolShowFullFeature[indexPath.section] == false
            {
                if indexPath.row == showCells
                {
                    return createShowMoreCell(indexPath.section)
                }
                else
                {
                    let cell = tableView.dequeueReusableCellWithIdentifier("Cell", forIndexPath: indexPath) as! SearchListViewCell
                    var firstTitle = "", secondTitle = "", thirdTitle = "", recomendValue = "", starValue = ""

                    (firstTitle, secondTitle, thirdTitle, recomendValue, starValue) = model.foodValue[indexPath.row]
                    cell.configureCell(firstTitle, secondTitle: secondTitle, thirdTitle: thirdTitle, recomendValue: recomendValue, starValue: starValue)
                    return cell

A: i had actually done this before. here is sample code:
var objects = [["1","2","3"],["q","w","e","r","t","y"],["z","x","c","v","b","n","m"]]
var sec = ["sec a","sec b","sec c"]
var showallSec = 0

override func numberOfSectionsInTableView(tableView: UITableView) -> Int {
    return sec.count
}

override func tableView(tableView: UITableView, numberOfRowsInSection section: Int) -> Int {
    let items = objects[section].count

    if items > 3{
        if section == showallSec-1{
            return items
        }
        return 4
        }
    return items
}

override func tableView(tableView: UITableView, cellForRowAtIndexPath indexPath: NSIndexPath) -> UITableViewCell {
    let cell = tableView.dequeueReusableCellWithIdentifier("Cell", forIndexPath: indexPath)

    let object = objects[indexPath.section][indexPath.row]
    cell.textLabel!.text = object
    if(indexPath.section != showallSec-1){
    if(indexPath.row == 3){
        cell.textLabel!.text = "show more"
        }}
    return cell
}

override func tableView(tableView: UITableView, titleForHeaderInSection section: Int) -> String? {
    return sec[section]
}

override func tableView(tableView: UITableView, didSelectRowAtIndexPath indexPath: NSIndexPath) {
    if(indexPath.row == 3){
        showallSec = indexPath.section + 1
        tableView.reloadData()
    }
}


text:
Comcast Has A Huge New Venture Fund, And This Woman Is Running It
Matt Rosoff Dec. 13, 2011, 6:01 AM
[credit provider="Comcast Ventures"]
Early this year, Comcast and NBC combined their venture arms into a single unit: Comcast Ventures.The company sent Amy Banse, a 20-year Comcast veteran, from Philadelphia to San Francisco to run the new venture.
Comcast does not officially discuss the size or scope of the new fund, but the Wall Street Journal reported that it will invest up to $75 million a year from a total fund amounting to $750 million.
We met Banse last week at her six-month-old office high above Market Street in downtown San Francisco. Here's some of what we learned about her investing strategy, as well her thoughts on the future of media.
Why does Comcast need a venture fund? "In my prior position [with Comcast's digital media investment group] we would take a look at companies like Clicker and Boxee and Flixster, but it's hard to convince a [Comcast CEO] Brian Roberts to buy a Flixster for $350 million when it has no revenue. So, that's when I woke up to the beauty of minority investing, and the ability to use a venture fund as a vehicle to partner early with companies that were interesting to us…without having either to start them from scratch, which is hard to do if you don't have that DNA, or else by buying them wholesale."
Why Comcast Ventures is a financial fund, not a strategic fund. "Because by making it clear to any given entrepreneur that your first priority is to make his company a success, you're going to see better entrepreneurs, you're going to have better deal flow. And in having the better deal flow, you're going to be more strategic to your LP."
What areas of investment she focuses on: "It's not a surprise we look a lot at digital media. We look at lot at commerce, which we can support with our cable networks and our 25 million subscribers. We look a lot at interactive ad and ad tech. We are among the largest advertisers in the country between cable and NBC. We look at enterprise because we can be an anchor client for any enterprise company."
Why they opened an office in San Francisco. "You can fly in and have lots of great and exciting conversations with Facebook and Google and Twitter, where you would leave sort of thinking 'gosh, there are all kinds of things we could do together.'…. But the problem is, you fly back to Philadelphia and the momentum would immediately die. Because people are busy out here, they've got their hands full."
People in Silicon Valley sometimes forget how pervasive TV is. "I was at a small seminar recently, there must have been about 75 of the best and brightest of Silicon Valley. The guy who was leading the morning discussion, the first thing he did was ask everybody how they start their day. In typical fashion given the attendees, there were a lot of Google Analytics and Flipboard. I was one of the last to go and I said, 'well, I actually start my day the way 80% of Americans start their day: I turn on the TV.'"
How the move to digital presents new opportunities for Comcast. "If you are '30 Rock' or 'Real Housewives,' how can you extend that engagement past the traditional 30 minutes or 60 minutes of TV? You do it by creating second-screen experiences, you do it by allowing the conversation to continue after the show is over….That's one dimension of digital media. The other is new providers of packages of content, over the top….Five years from now, all of us, each of us, will be sourcing content from multiple digital providers. The best experience will be the experience that allows you to do that as easily as possible."
An edited transcript of our conversation is below:
Business Insider: So you've been in San Francisco for almost a year — how do you like it?
Amy Banse: I've been in love with this city for more than 30 years. To be honest with myself, that's one of the reasons why I've crafted this job. The job needed to be crafted, that was pretty clear to most of us at Comcast for the last couple of years, but I was happy to volunteer because I've been head over heels in love with this city for the last 25 or 30 years, and I've been totally drinking the California Kool-Aid.
It's very different from the rest of the country, in a good way. There's no question it's a bit of a bubble — and by that I don't mean inflated valuations, although you could argue there are inflated valuations — but it's more like Emerald City out here, people are optimistic in a way they are not necessarily in the rest of the country, people are ambitious in a way that they are not necessarily in the rest of the country. It's like Go West young man, or young woman. It's a city full of people who have made a conscious decision to go west for a certain reason.
What it results in is these great days where you meet a whole slew of people who are interesting and unique in their own right, and it makes for a nice way to make a living.
BI: Tell me how Comcast Ventures got started.
AB: Comcast has had a venture group for 11 years based in Philadelphia. A handful of investment professionals doing historically — we've never been tied to the cable tech cable infrastructure world, but for obvious reasons we've done a lot in that category.
We've always made it very clear that we are first and foremost a financial fund, not a strategic fund, in that we don't need an operating reason to do an investment. That's even more true today than when we started. We've actually flipped that equation and are very keen on looking for companies not that can support us, but that we can support them because we think that's our biggest differentiator.
NBC had a fund, the Peacock Fund, that they established in 2006. So when we did the NBC deal in January, we put the two funds together. We made a conscious decision to really base them — whereas CIC [Comcast Interactive Ventures] had been based in Philadelphia and Peacock was in New York, we said we really need to be in New York and San Francisco.
Business Insider: Why San Francisco?
Before this I started our digital media division at Comcast Interactive Capital and spent 6 years growing that which was great fun. We spent a lot of time out here and two things became obvious. One is that there was a lot going on that affects and impacts our industry. You can fly in and have lots of great and exciting conversations with Facebook and Google and Twitter, where you would leave sort of thinking "gosh, there are all kinds of things we could do together."
BI: Are you talking to those three companies?
AB: We talk to them on a regular basis as a larger company in terms of the initiatives we can do and the ways we can partner together and the way we integrate, say Twitter, into our cable product.
But the problem is, you fly back to Philadelphia and the momentum would immediately die. Because people are busy out here, they've got their hands full. Their roadmaps for the next six months are spoken for. Unless you're out here and part of the conversation and in the mix, it's really hard from Philadelphia to wave your arms and say "focus on me."
Number two, in my prior position at CIC, we would take a look at companies like Clicker and Boxee and Flixster, but it's hard to convince a Brian Roberts to buy a Flixster for $350 million when it has no revenue. So, that's when I woke up to the beauty of minority investing, and the ability to use a venture fund as a vehicle to partner early with companies that were interesting to us either because they could support us or we could support them, without having either to start them from scratch, which is hard to do if you don't have that DNA, or else by buying them wholesale.
BI: So you're not a strategic fund, but do you focus on specific areas where there might be a strategic fit for Comcast the parent company?
AB: We have always been of the belief that we want to be a financial investor first. Why? Because by making it clear to any given entrepreneur that your first priority is to make his company a success, you're going to see better entrepreneurs, you're going to have better deal flow. And in having the better deal flow, you're going to be more strategic to your LP.
Having said that, you gravitate toward companies where you know something about the business and you can support the business, either with your own experience or with your assets or your platform. We have a pretty large platform now.
As a result, it's not a surprise we look a lot at digital media. We look at lot at commerce, which we can support with our cable networks and our 25 million subscribers. We look a lot at interactive ad and ad tech. We are among the largest advertisers in the country between cable and NBC. We look at enterprise because we can be an anchor client for any enterprise company. There are things we gravitate towards in large part because we can really help jump start momentum for that company.
BI: What do you think of the landscape in digital media right now? There's so much talk of bypassing traditional cable companies. Is that something you worry about, or you're trying to get ahead of?
AB: I actually think there's an opportunity for us in evolving digital media. Digital media means different things to different people. There's digital media in terms of next-generation content and premium content, and there's a lot of activity in making that a more social experience, or a three screen experience. Whether it's not its Snappy TV, or working with Shazam or Twitter or Facebook. Or startups that reflect iterations of those, like Chime and UberMedia. We look at those and we work with our networks to figure out how they partner together to accomplish what our networks are after, which is an extended engagement with their audience.
If you are "30 Rock" or "Real Housewives," how can you extend that engagement past the traditional 30 minutes or 60 minutes of TV? You do it by creating second-screen experiences, you do it by allowing the conversation to continue after the show is over. That's the promise of social media for the networks. We're definitely not only interested in that, but that's a trend we think is going to make our network stronger.
That's one dimension of digital media. The other is new providers of packages of content, over the top. I'm equally interested in over the top. We're fully aware that over the top has come and is coming and will continue to come….
Five years from now, all of us, each of us, will be sourcing content from multiple digital providers. The best experience will be the experience that allows you to do that as easily as possible.
BI: What stage of investment do you focus on?
AB: Just like we are looking at multiple categories and multiple verticals, we are looking at multiple stages. Historically we were mostly B and C, but like the rest of the world, particularly in some of these categories where the valuation grows quickly, like the commerce space, we are moving towards A and have even done a handful of seed rounds this past year. Our most recent seed was KiwiCrate —
BI: Subscription e-commerce seems like an interesting fit.
AB: If you think of it, I don't know of anyone else who has the breadth of platform from which to invest in. From the cable side we have a huge pipe, we have a billing relationship with 25 million subscribers. On the NBC side we have a broadcast network and a stable of well known powerful cable networks. That's a huge marketing machine and promotional machine right there. On the corporate side, we're a big company which employs over 130,000 people.
BI: And you have the Universal assets as well. Tons of valuable content.
AB: Exactly. I was at a small seminar recently, there must have been about 75 of the best and brightest of Silicon Valley. The guy who was leading the morning discussion, the first thing he did was ask everybody how they start their day. In typical fashion given the attendees, there were a lot of Google Analytics and Flipboard.
I was one of the last to go and I said, "well, I actually start my day the way 80% of Americans start their day: I turn on the TV."
BI: I usually check my email on my phone first.
AB: Right, I actually said I look at my email to see if there are any crises on the East Coast happening, then I turn on my TV.
But I think a lot of people out here are so caught up in the phenomenon of social network marketing that they forget the power of a mention on the Today Show?
BI: Do you think consumer TV habits are changing? Are people spending more time doing many things at once?
AB: We have plenty of research that you're seeing an increasing incidence of dual-screen television watching. What's interesting it's not either-or. Two years ago, there were a lot of dire predictions that with the increasing use of the Internet, people would watch television less. The opposite is true — research shows that the number of hours the TV is on in a household is increasing. What's happening is they're watching TV but they're also doing other things. They're watching TV with their laptop, smartphone, or iPhone.
We see that — the venture guys and the NBC side of the house — sees that as a huge opportunity, that gives us an opportunity to extend the content and extend the engagement with our fanbase.
BI: I wonder how that affects advertising? You don't have that undivided attention of the 30-second spot.
AB: You're a glass half-empty guy. Look at the opposite perspective.
One, there are a lot of people out there, including the Shazams of the world —
BI: Do you have an investment in Shazam?
AB: No, we don't — but they are talking to our networks about how to sell advertising to a brand and incorporate a Shazam button in the ad such that you can point your phone at the ad and then on your phone or on your iPad you'll get additional information. I actually think people see an opportunity there, to get people to drill down to a greater degree to what they could do with a 30-second spot.
BI: But we've been hearing about interactive advertising for 20 years now and it's been a hard sell so far.
AB: You're right, and we're mindful of the fact that it's been a long time coming. We need to do a better job of bringing some of the tools that power the growth of online advertising, whether it's targeting or data collection or making an ad more relevant to a consumer. We're mindful of bringing some of those tools to a TV set. I hope we're in a better position to do that than we have been since we started talking about that.
We are looking at a multiscreen experience. It's hard to get as interactive as you want by having all the interactivity happen on that big screen that's 10 feet away.
BI: What about consumption of video on mobile devices? Is that interesting for you?
AB: Absolutely. From our networks' perspective, we have crossed the Rubicon, where we believed everything needed to happen on the 10 foot screen. The believe and realisation is you make your content wherever and whenever on whatever screen or device that somebody happens to want to use at that time.
BI: Who has control of that interface? If you're in Apple's App Store you play by Apple's rules.
AB: TV everywhere was something Comcast was in on at the very beginning. There was a lot of hesitation from the networks. If you're not accessing the content off the big screen, how do you access that content. At first the ABCs and NBCs all had their own button or their own site. As people become more comfortable with the technology and consumer behaviour, my prediction is you're going to see the media industry as a whole become more and more comfortable with allowing their content to be distributed through multiple platforms. You've seen that already — you have Hulu, Netflix, iTunes, and my bet is you'll start seeing video appear on the Flipboards of this world.
Nirvana for a network is if I know and am comfortable with the fact that a subscriber has paid for my content, I'm happy to have them access it on any device they want to access it on….
We think long and hard about how do we participate in that process. We participate because we're the pipe. We participate because we've got 25 million people purchasing big packages of content from us already.
BI: What do you worry about missing?
AB: Our priority for 2012 is getting our message out. Part of the reason why we opened the office here is to become more relevant and to have more visibility in this market. My baseline priority is to get the best entrepreneurs and most interesting startups to think of us. We've got more work to do on that front before I start worrying about missing on any trend.
If we can get people to appreciate how much support we can bring to any given company beyond money — if we do that well, we won't miss out on the opportunities we should be taking advantage of.
We have a good reputation in this market, but I don't know whether or not we're yet the top five that any entrepreneur or founder visits when they start looking for money. I want to make us one of the top five.
BI: How much do you have to invest?
AB: We don't talk about that. Part of the beauty of our structure is we don't have to raise money. It's tied to what opportunities we see. We don't have any specific benchmark in terms of amount that we invest in any given year. We invest in the deals that we like and the deals we're excited in. If that means more money one year and next the yet, that means more money one year and less the next.
BI: Do you have a time horizon where you have to return?
AB: No. Which is great. That gives us a certain flexibility that other funds don't have.
Matt Rosoff
Tennessee judge who routinely jailed children announced she's retiring but traumatized...


text:
Infrastructure & Cloud
SAP Developer Tools
buchachon - Fotolia
Celonis process mining aids Hager's S/4HANA journey
A successful SAP S/4HANA migration depends on companies fully understanding business processes. Here's how the Hager Group uses Celonis process mining to analyze and optimize processes.
Jim O'Donnell, News Writer
An S/4HANA migration is a daunting task for any organization, but companies are finding ways to ease the transition.
One such company is Hager Group, an electrical equipment and services provider in Blieskastel, Germany, that employs 11,500, operates 24 production facilities worldwide and services customers in more than 120 countries. A family-owned and -run business, the Hager Group found that it could cut costs and time in migrating its business and operations, which currently runs on SAP ECC 6.0 ERP, to S/4HANA by using Celonis process mining software.
The Hager Group's plan is for this major move to be completed by the end of 2022, with a big bang rollout of the new system, according to Frank Helbing, Hager's director of digital and information. One of the biggest advantages Celonis brings to the table is its ability to uncover process inefficiencies, which can create unnecessary delays, and identify process variants, which can be operationally critical but easily forgotten when relying on human memory.
Process excellence is the goal
The S/4HANA migration is part of Project 2030 (P2030), a corporate-wide initiative to meet future business and technological requirements, Helbing said.
Frank Helbing
As part of P2030, the project team interviewed Hager's top management to make sure that S/4HANA would support the company's future operating model.
"We decided to perform a conversion of our existing ERP system to S/4HANA, and this will be surrounded by a new implementation of function-specific extensions," he said. "Including things like integrated business planning and a new financial consolidation system."
Working with SAP, Hager conducted an S/4HANA transition study to decide if it was going to take a brownfield approach and upgrade its existing system, a greenfield approach and undertake a new installation of its ERP or some combination of the two for the project. Hager Group executives identified operational and process excellence as top goals for P2030, and SAP suggested that Hager look at Celonis' process mining tools, according to Helbing.
Business process X-ray
Celonis, co-headquartered in Munich and New York, is one of only a handful of companies specializing in process mining. Its software crawls through an organization's business processes and analyzes how the processes work and where there may be breaks or flaws.
Alex Rinke
"The idea we came up with 10 years ago was to have this X-ray for business processes, to be able to go into any company and show them how their processes are running," said Alex Rinke, co-founder and co-CEO of Celonis.
When you look at these challenges, it means you need to really understand your system before you can begin the migration to S/4HANA.
Frank HelbingDirector of digital and information, Hager Group
After a proof of concept proved to Hager management that the Celonis "X-ray" had value in preparing the company for an S/4HANA migration, the project team implemented the process mining software to more fully examine its processes and make sure they are optimized for the new system.
"There are a couple of challenges with an S/4HANA migration, for example, high customization, unclean master data and business processes that are not harmonized," Helbing said. "When you look at these challenges, it means you need to really understand your system before you can begin the migration to S/4HANA."
Finding process blocks
Hager first implemented Celonis process mining on its quote-to-cash process, where the software uncovered inefficiencies that were causing delays in the process, according to Helbing.
"For instance, we saw that we have unnecessary credit checks, which were blocking the order flow and causing delivery delays," he said. "That was an area where we could improve the cycle time and also reduce manual interactions where people have to take care of the blocked documents, sales orders, and release them, unnecessarily spending time on them."
While that kind of analysis can help any organization improve processes, Celonis is also helping Hager with two specific phases of its S/4HANA migration project -- fit-to-standard analysis and test preparation and execution.
Celonis process mining software helps organizations find process variants.
S/4HANA migration fit-to-standard analysis, part of an implementation project management framework called SAP Activate, compares an organization's existing processes with around 280 S/4HANA best practices, Helbing said. The usual fit-to-standard approach involves conducting workshops where consultants ask questions about how processes work, a tedious job that's prone to leave gaps.
"It's a pretty hard exercise because you really need to have in mind all your process variants, and you need to explain to [the consultants] how they work, which takes a lot of time," Helbing said. "The data-driven insights from Celonis allow you to reduce your costs and efforts for performing those fit-gap analysis workshops, because you can much faster explore existing processes and discover the variants based on fact-based insights. You can also do conformance checks, which take your existing processes and compare these with SAP's best practice processes."
Process variants a risk
Risk prevention is the key to effective test preparation and execution, Helbing explained. Knowing the processes in detail can help firms understand the less common variants of those processes which are commonly not included in testing.
"Then you have a huge risk, because later on, a process might not work as expected," Helbing said. "Celonis can help you here because it shows you the most common process variants, but also the less common ones, so you can take those less common ones into consideration for your testing."
The time and effort that Celonis has saved Hager in preparing for its S/4HANA migration are significant, Helbing said.
"The effort is incredibly high if we were to try to discuss with each sales organization about how the process flow is, so you'll never get the complete picture," he said. "Since we've implemented Celonis, we've seen immediately how the processes are in reality. I think we've saved many days and weeks for discovering how the processes work in today's system. Of course, you have some idea how they should work, but you're never 100% sure how they work in reality."
Jim O'Donnell covers ERP and other enterprise applications for SearchSAP and SearchERP.
IT complexity slows S/4HANA migration pace
A Computer Weekly Buyer's Guide to SAP Hana Deployment –TechTarget ComputerWeekly.com
New wave BI and analytics –TechTarget ComputerWeekly.com
How File Storage Services in the Cloud Help Make SAP Migrations a Reality –NetApp
Unlock SAP on Azure without the risk, cost, or time –NetApp
Dig Deeper on SAP HANA
SAP S/4HANA Finance
By: Jim O'Donnell
SAP S/4HANA migration: A definitive guide
SAP S/4HANA Cloud
2020 Trends in Cloud Infrastructure –Dell Technologies
Defeating Ransomware With Recovery From Backup –Exagrid
SAP acquires process mining software vendor Signavio – SearchSAP
Tips for executing an SAP S/4HANA brownfield ... – IT Channel
A buyer's guide to S/4HANA Cloud Private Edition – SearchSAP
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Awards: Winner of Angouleme Selection Jeunesse 2011.
Two little dogs frolic and dream of adventures beyond their wildest imaginations, from jungles of the Congo with towering ebony elephants to the whitewashed, frigid arctic where the icy white polar bears roam.
Poor Bear, who will send him a letter? Come rain or shine, he works so hard delivering the post to all the animals of the wood but he never receives anything himself. Hardly surprising since he's never actually sent a letter! One day Bear decides to write a few letters of his own, inviting all the forest animals to a party.
Awards: Winner of Smarties Book Prize Gold Award 1999 and Smarties Book Prize 0-5 Category 1999. Shortlisted for Blue Peter Book Award 2000.
Awards: Winner of Nielsen BookData/ABA Book of the Year Award - Booksellers' Choice 2015.


Find economic information on our new Data page. There you will find information on the local and state labor market including numbers on the labor force, employment and unemployment. The data comes from the U.S. Bureau of Labor Statisitics.
We also feature the Opportunity Atlas which helps to reveal which neighborhoods in America offer children the best chance to rise out of poverty. The Opportunity Atlas answers this question using anonymous data following 20 million Americans from childhood to their mid-30s. It is produced by the U.S. Census Bureau.
See Our Data Page Here.


On April 18, 2018 Partner Michael Dolan spoke to claims representatives at Zurich North America in Rocky Hill, Connecticut. The topic was "NEGOTIATION STATEGIES 2.0", an analysis of advanced negotiation techniques that are employed in complex and high stakes claims. The seminar was presented by the Claims and Litigation Management Alliance.