Sound is a mechanical energy which produces sensation of hearing.
For hearing sound there must be (i) a vibrating body, (ii) a material medium for its propagation and (iii) a receiver, such as human ear.
Sound energy does not propagate through vacuum.
When the particles of a medium oscillate in the same direction, in which wave is being propagated, such a wave is called longitudinal wave.
When the particles of a medium oscillate at right angles to the direction of wave propagation, a transverse wave is produced.
Transverse waves can be produced in solids and liquids, but not in gases.
The highest point on the elevation or hump of a transverse wave is called crest.
The lowest point on the depression or hollow of a transverse wave is called trough.
Compression is a region in a longitudinal wave, where the particles of medium are crowded together. It is a region of high pressure and high density.
Rarefaction is a region in a longitudinal wave, where the particles of medium are spread wide apart. It is a region of low pressure and low density.
The change in density of a medium from maximum value to minimum value and again to maximum value in case of longitudinal wave is called one oscillation.
. The number of compressions and rarefactions (taken together) passing through a point in one second is called frequency. Its unit is hertz.
The time taken by two consecutive compressions or rarefactions to cross a point is called time period.
The magnitude of maximum displacement of a vibrating particle about its mean position is called amplitude.
The pitch of sound is determined by its frequency, i.e., higher the frequency, more is the pitch and hence, shriller is the sound.
The loudness of sound is determined by the amplitude, i.e., more the amplitude, louder is the sound.
The property by virtue of which the note of same pitch and same frequency can be distinguished is called timbre or quality of sound.
Sound travels fastest in solids, slower in liquids and slowest in gases.
A conical tube commonly used for addressing a small group of people is called megaphone.
The phenomenon due to which repetition of sound is heard after reflection from a distant object, after the original sound from a given source dies is called an echo.
For hearing an echo, the minimum distance between the source of sound and reflecting body should be 17m.
Vibrations within the frequency range of 0 Hz to 20 Hz are called infrasonic vibrations. Humans cannot hear them.
Vibrations within the frequency range of 20 Hz to 20000 Hz are called sonic vibrations. They can be heard by humans.
Vibrations above the frequency range of 20,000 Hz known as ultrasonic vibrations. Humans cannot hear them.
A device used to locate depth of sea or submarines, etc, is called sonar.
. Name the disease that can be caused by UV rays.
What do you understand by the term wave motion?
What do you understand by the term sound energy?
What kind of elastic wave is produced when the particles of a medium vibrate at right angles to the direction of sound propagation?
What kind of wave is produced when the particles of a medium vibrate in the direction of propagation of sound?
The frequency of a sound wave is 32 Hz. What is the time period?
A vibrating wire has a time period 0.025 s, calculate the frequency.
What is the linear distance between a crest and a trough?
The frequency produced by a tuning fork is 41.5 Hz. What is the distance travelled by sound when the tuning fork makes 20 vibrations?
What is the amount of sound energy passing per second through unit area known as?
If a sound wave travels in air and steel with a speed X m/s and Y m/s respectively, find the ratio of the time taken by the sound waves in air and steel to reach a certain point?
Give the relation between wavelenght (λ), velocity (v) and frequency (f).
What is the speed of sound in air at 0 °C?
The frequency of a sound wave in air is 128 Hz. What will be its frequency in water?
A source wave produces 20 compressions and 20 rarefactions in 0.045 seconds. What will be the frequency of the wave?
A tuning fork produces 1024 oscillations in 4s. What is the frequency of the tuning fork?
What do you mean by bass in a musical sound?
What kind of waves are used in sonography?
Three persons, A, B and C are made to hear a sound travelling through different mediums as given below : Persons Mediums A Iron Rod B Air C Water Who will hear the sound first? Why?
(i) Define the time period of a wave. (ii) Give the relation among speed of sound v, wavelength l and its frequency v. (iii) A sound wave travels at a speed of 339 ms–1. If its wavelength is 1.5 cm, what is the frequency of the wave?
Draw a neat labelled structure of human ear, depicting the auditory parts only.
A hospital uses an ultrasonic scanner to locate tumours in a tissue. What is the wavelength of sound in a tissue in which the speed of sound is 1.7 km/s. The operating frequency of the scanner is 4.2 MHz (1MHz =106 Hz).
What is meant by reverberation of sound? Does reverberation produce undesirable effects in big hall or auditorium? If yes, how are the undesirable effects avoided?
What is echo ranging? State any one application of this technique.
Differentiate between low and high pitch sound using neat and labelled diagram.
(a) Which wave property determines (1) loudness (2) pitch? (b) How are wavelength and frequency related to speed of sound waves?
Sound of explosions taking place on other planets is not heard by a person on the earth. Give reason.
A sonar device on a submarine sends out a signal and receives an echo 5 seconds later. Calculate the speed of the sound in water if the distance of the object from the submarine is 3625 m.
Give two applications of ultrasound.
Represent graphically two sound waves having same amplitude but different frequencies.
. When the wire of a guitar is plucked, what types of waves are produced in (i) air and (ii) wire? Give reasons in support of your answer.
A body is vibrating 6000 times in one minute. If the velocity of sound in air is 360 m/s, find : (a) frequency of vibration in hertz. (b) wavelength of the wave produced.
Draw a graph showing a person with soft and loud voice.
(a) Sound is produced when your school bell is struck with a hammer. Why? (b) Which characteristic of sound helps to identify your friend by his voice while sitting with others in a dark room?
(a) Write factor on which pitch of a sound depends? (b) Draw a diagram to represent sound of (a) high pitch and (b) low pitch, of the same loudness.
(a) Which wave property determines? (i) loudness (ii) pitch (b) Why are the ceilings of concert halls curved?
. Give one difference between transverse and longitudinal wave. Give one example for each.
What is an echo? Give minimum distance required to hear an echo. Give one application where principle of echo is utilised.
(a) What type of wave is represented by density - distance graph? (b) What is meant by transverse wave? Give an example.
What is transferred by a wave motion, matter or energy? Support your answer by an example.
Derive a relation between wave velocity (v), wavelength (λ) and frequency (f).
. Draw a diagram representing longitudinal wave.
. What kind of wave is produced when sound energy propagates through air? Give two examples of longitudinal waves.
What do you understand by the terms (i) compression (ii) rarefaction, as applied to longitudinal waves.
A longitudinal wave is produced in a slinky, such that the frequency of the wave is 20 Hz and the speed of the wave is 30 cms–1. What is the minimum distance of separation between the consecutive compressions of the slinky?
Wavelength of ripples produced on the surface of water is 0.14 m. If the velocity of ripples is 42 ms–1, calculate the number of ripples produced in one second.
A boat at anchor is rocked by waves, such that distance between two consecutive crests is 100 m. If the wave velocity of the moving crests is 20 ms–1, calculate the frequency of rocking of the boat.
A plastic ruler is held near the rotating wheel of a bicycle, such that it produces sound every time the spoke of the wheel strikes it. If 20 clicks are produced in 0.4s, calculate the frequency of sound produced.
A bat can hear sound at frequencies up to 120 kHz. Determine the wavelength of sound in air at this frequency. Take the speed of sound in air as 344 ms–1.
(a) Why the stage of an auditorium has curved background, curtains, carpets and false ceiling? (b) The sound of a ringing bell inside a vacuum chamber cannot be heard. Why?
Ocean waves of time period 0.01s have a speed of 15 m/s. Calculate the wavelength of these waves. Find the distance between the adjacent crest and the trough.
(a) How the bats make use of ultrasonic waves to catch their prey? Explain? 3 (b) A radar signal is reflected by an aeroplane and is received 2 × 10–5 s after it was sent. If the speed of these waves is 3 × 108 ms–1, how far is the aeroplane?
. (a) Even if a loud explosion were to take place at any place on the moon, it would not be heard at a near by point. Give reason. (b) Explain in brief the dependence of speed of sound on nature of material medium and temperature. (c) Identify the two factors on which the loudness of sound depends.
. (a) What causes reverberation of thunder sound ? (b) A Sonar device on a submarine sends a signal and receives an echo 5 s later. Calculate the speed of sound in water if the distance of the object from the submarine is 3625 m.
Explain how defects in a metal block can be detected using ultrasound.
Explain how human ear works in the transmission of sound wave to the brain.
Define frequency, amplitude and speed of a sound wave.
What is 'Ultrasound'? Explain how defects in a metal block can be detected using ultrasound.
State the relationship between frequency and time period of a wave. The wavelength of vibrations produced on the surface of water is 2 cm. If the wave velocity is 16 m/s find its frequency and time period.
Define echo. Establish a mathematical relation between speed of sound, distance of reflecting body from source of sound and time for echo.
(a) Does the sound of a bomb explosion travel faster than the sound of the humming bee? (b) A sonar device on a submarine sends out a signal and receives an echo 5 s later. Calculate the speed of sound.
(a) The sound of an explosion on the surface of lake is heard by a boatman 100 m away and a driver 100 m below the point of explosion. Of the two persons mentioned (boatman or driver) who would hear the sound first? And why? (b) Calculate the wavelength of a sound wave whose frequency is 220 Hz and speed is 440 m/s in a given medium.
(a) What is audible range of the average human ear? (b) Explain how ultrasound is used to clean spiral tubes and electronic components?
. (a) Which wave property determines? (i) loudness (ii) pitch (b) Flash and thunder are produced simultaneously, but thunder is heard few seconds after the flash is seen, why?
(a) Mention two practical applications of reflection of sound waves. (b) A sound wave travels at a speed of 339 m/s. If its wavelength is 1.5 cm, calculate the frequency of the wave.
. What does acronym sonar stand for? What type of wave does it use? Write any two uses of sonar.
. A sound wave has a frequency of 5000 Hz and wavelength of 20 cm. How long will it take to travel 1 km?
. What is an echo? Why do we not get echo in small room?


The latest Careers Newsletter is now available - packed with useful information and advice on careers, apprenticeship vacancies, Australian and New Zealand university open days and jobs and careers events. Hard copies will be available from residential and day boarding houses. Click here for a digital copy.


text:
Ernest Loring "Red" Nichols (May 8, 1905 – June 28, 1965) was an American jazz cornetist, composer, and jazz bandleader.

Biography

Early life and career
Nichols was born in Ogden, Utah, United States. His father was a college music professor, and Nichols was something of a child prodigy, playing difficult set pieces for his father's brass band by the age of 12. Young Nichols heard the early recordings of the Original Dixieland Jazz Band and later those of Bix Beiderbecke, and these had a strong influence on him. His style became polished, clean, and incisive.

In the early 1920s, Nichols moved to the Midwest and joined a band called the Syncopating Seven. When that band broke up, he joined the Johnny Johnson Orchestra and went with it to New York City in 1923. In New York, he met trombonist Miff Mole, and the two were inseparable for the next decade. Before signing with Brunswick, Nichols and Mole recorded for Pathé-Perfect under the name the Red Heads.

Brunswick Records era
Nichols could read music and easily gained studio work. In 1926, he and Mole began recording with a variety of bands as Red Nichols and His Five Pennies. Few of these groups were quintets; the name was a pun on "nickel". With the Five Pennies, he recorded more than 100 sides for Brunswick. He also recorded as the Arkansas Travelers, the California Red Heads, the Louisiana Rhythm Kings, The Charleston Chasers, Red and Miff's Stompers, and Miff Mole and His Little Molers. During some weeks in this period, Nichols and his bands were recording 10 to 12 2-sided records.

Nichols' band started with Mole on trombone and Jimmy Dorsey on alto saxophone and clarinet. Other musicians in his bands in the following decade included Benny Goodman (clarinet), Glenn Miller (trombone), Jack Teagarden (trombone), Pee Wee Russell (clarinet), Joe Venuti (violin), Eddie Lang (banjo and guitar), and Gene Krupa (drums). The Five Pennies' version of "Ida, Sweet as Apple Cider" was a surprise hit record. It sold over a million copies and was awarded a gold disc by the Recording Industry Association of America. His composition "Nervous Charlie Stomp" was recorded by one of the top jazz bands of the 1920s, Fletcher Henderson's orchestra, and released as a 78 single.

In the next decade, more structured swing eclipsed the improvisational Hot jazz Nichols loved to play. He tried to follow the changes and formed a swing band, but his recording career seemed to stall in 1932. Music critic Michael Brooks wrote,

What went wrong? Part of it was too much, too soon. Much of his vast recorded output was released in Europe, where he was regarded by early jazz critics as the equal, if not the superior, of Louis Armstrong and Bix Beiderbecke. People who make fools of themselves usually find a scapegoat, and when the critics were exposed to the music of Duke Ellington, Benny Carter, Coleman Hawkins and others they turned on Nichols and savaged him, trashing him as unfairly as they had revered him. Nichols' chief fault was an overly stiff, academic approach to jazz trumpet, but he did recognize merit as far as other jazz musicians were concerned and made some wonderful small group recordings.

Other labels Nichols recorded for included Edison 1926, Victor 1927, 1928, 1930, 1931 (individual sessions), Bluebird 1934, 1939, back to Brunswick for a session in 1934, Variety 1937, and OKeh in 1940.

Later career
Nichols survived the Great Depression by playing in show bands and pit orchestras. He led Bob Hope's orchestra for a while, moving to California. Nichols married Willa Stutsman, a "stunning" George White's Scandals dancer, and they had a daughter. In 1942 their daughter contracted polio, which was misdiagnosed at first as spinal meningitis, and Nichols left Glen Gray and the Casa Loma Orchestra to work in the wartime shipyards. On May 2, 1942, Nichols left his band to take an army commission after completing an engagement at Lantz's Merry-Go-Round in Dayton, Ohio.

Drawn back to music after the war, Nichols formed another Five Pennies band and began playing in small clubs in Los Angeles. Club dates turned into performances at bigger venues, such as the Zebra Room, the Tudor Room of the Palace Hotel in San Francisco, and the Shearton in Pasadena, California. He toured Europe as a goodwill ambassador for the State Department. Nichols and his band performed in the 1950 film Quicksand starring Mickey Rooney. In 1956, he was the subject of an episode of the television program This Is Your Life in which he reunited with Miff Mole, Phil Harris, and Jimmy Dorsey, who praised Nichols as a bandleader who ensured everyone was paid.

In 1965, Nichols took his Five Pennies band to the Mint Hotel in Las Vegas. On June 28, 1965, a few days after he began performing, he had chest pains while he was sleeping. He phoned the front desk. but when the ambulance arrived he was dead. The band performed as scheduled with a spotlight on Nichols' empty chair.

Biographical film and film career
In 1929, he appeared in the Vitaphone film short (Reel #870) with his band The Five Pennies along with Eddie Condon and Pee Wee Russell.

In 1935, he appeared in the Paramount Pictures film short The Parade of the Maestros along with Ferde Grofe performing "In the Middle of a Kiss".

Red Nichols performed in and is also mentioned in the 1950 Mickey Rooney and Jeanne Cagney film Quicksand. Rooney's character asks out Jean Cagney, he asks if she likes "Red Nichols and his outfit?" and she responds, "I think they're great!" They then go to the club to watch Red Nichols and his band perform.

The 1959 Hollywood film The Five Pennies, the film biography of Red Nichols, starring Danny Kaye as Red Nichols, was loosely based on Nichols' life and career. Nichols played his own cornet parts for the film and appeared briefly as one of the "Clicquot Club Eskimos" on screen. The Paramount Pictures movie received four Academy Award nominations. Jazz contemporary Louis Armstrong also appeared in the film. The Five Pennies movie theme song and other songs for the film were composed by Sylvia Fine, Danny Kaye's wife.

Nichols also made cameo appearances in the 1951 film Disc Jockey with Tommy Dorsey, and The Gene Krupa Story in 1959.

His recording of "Poor Butterfly" is heard in the 1994 Woody Allen film Bullets Over Broadway and his recording of "(Back Home Again in) Indiana" in the 1999 film Sweet and Lowdown.

Awards and honors
In 1986, Red Nichols was inducted into the Big Band and Jazz Hall of Fame.

Compositions
He wrote or co-wrote the following songs: "Hurricane" with Paul Mertz, "You're Breakin' Me Down" with Glenn Miller, "Five Pennies", "Sugar" with Jack Yellen, Milton Ager, and Frank Crum, "Bug-A-Boo", "The Parade of the 'Pennies'", "The King Kong", "Trumpet Sobs", "Get Cannibal", "Junk Man's Blues", "Delta Roll", "Corky", "Bugler's Lament", "Nervous Charlie Stomp" (recorded by Fletcher Henderson), "Last Dollar", "That's No Bargain", and "Blues at Midnight".

Discography
 Red Nichols Classics. Volume One (Brunswick, 1943)
 Red Nichols Classics. Volume Two (Brunswick, 1946)
 Jazz Time (Capitol, 1950)
 Hot Pennies (Capitol, 1956)
 In Love With Red (Capitol, 1956)
 Red Nichols and His Five Pennies (Tops, 1957)
 Parade of the Pennies (Capitol, 1958)
 Meet the Five Pennies (Capitol, 1959)
 Dixieland Supper Club (Capitol, 1962)
 Sessions, Live (Calliope, 1976)

References

External links
 Red Nichols: Profiles in Jazz at The Syncopated Times
 Red Nichols and his Five Pennies at the Red Hot Jazz Archive
 Red Nichols recordings at the Discography of American Historical Recordings.

1905 births
1965 deaths
Musicians from Ogden, Utah
American jazz cornetists
American jazz bandleaders
Big band bandleaders
Capitol Records artists
Vocalion Records artists
Burials at Forest Lawn Memorial Park (Hollywood Hills)
20th-century American musicians
The California Ramblers members
The Charleston Chasers members

redpajama_set_name: RedPajamaWikipedia


I worked on a lovely project last year. Buxton Museum had won first stage HLF funding to do some initial development on their Collections in the Landscape project, and they wanted to use it to test how mobile could bring their museum content out into Buxton town and the Peak District sites that it relates to. This is something I know a number of museums have been trying out and thinking about recently, and it makes sense. If you have lots of artefacts from a particular archaeological site, wouldn't it be nice if people could see those objects and hear their stories whilst they are at the site itself?
They were working with Lord Cultural Resources on this, and Lord hired me to help develop the pilots. I have to say, it was very pleasing to be working on a on a project that was a proper pilot: testing and evaluating the concept with the audience before plunging into building an expensive app. This seems like the ideal model to me, and well worth taking the time to do. As a pilot, though, the budget was limited, there were four ideas to test and no in-house expertise to build an app. We needed to find a platform that already existed to use.
I researched a number of options, there are quite a few services out there that allow you to build location based mobile tours and the like, but none were flexible enough or within the price range. Fortunately, whilst working on the Artmaps project for Tate I had met Ben Bedwell, who was part of the project team and the creator of Wander Anywhere (WA).
Based on WordPress (which means the back end is very familiar), Wander Anywhere is a tool that allows you to create GPS based experiences: attaching text, audio, images or video to pages that can be triggered on screen as the user gets to a particular point on the ground.
The obvious use is to create mobile tours, but you could do something quite playful with it as well. We attempted this at a workshop Ben ran last year which invited a varied group of people (researchers, digital practitioners and museum staff) to use the platform to create something over two days at Wollaton Hall. This slightly silly Wollaton family fun tour was the result of my team's efforts.
If you're looking at the site on a non-mobile browser, it will just look like a collection of web pages. But, when viewed on mobile, the functionality is completely different: it gives you options for different ways to explore a site (using a compass, or map), and the pages are only triggered when you are in the right spot. A simple mechanic, but one that has lots of potential applications, I think.
Now, this is not an app. It is a completely web based experience, running on the phone's browser. So it has its limitations, requiring a data connection and GPS to work. However, it is really very easy to use. You could put together a mobile tour in an hour, maybe less. For me, this makes it a brilliant prototyping tool, providing you are testing in a site that has a reliable data connection and good GPS coverage. Also, it's a research project, not a commercial tool, so it's free.
For Buxton, it seemed like the best option. We ended up using WA as the basic platform but Ben did some extra development work on it to style the pages and tweak it a little. As one site, Dovedale, has absolutely no mobile signal, we decided to do a PDF family tour there instead that could be downloaded in advance, but the rest are WA based. The result is the Buxton Museum apps site here (best viewed on mobile for the full effect), which was launched and trialled at the beginning of 2014 (but is still live).
They are fairly simple, but each tries different things: Buxton Shops features wonderful reminiscences from local residents and asks for contributions from users, Buxton Waters is GPS triggered, Arbor Low is packed with extra content and set at a remote stone circle and barrow site. This meant that Buxton could evaluate the success or otherwise of the different features. For example, I think it's fair to say that the GPS triggering proved difficult in a small town area. Lesson learned.
Buxton's Collections in the Landscape blog is well worth reading, they've been very open about the whole process. There are a couple of posts on there about the trials they ran with the mobile tours (here for Dovedale, and here for Arbor Low) and many others on aspects of the funding applications, other digital experiments (e.g. with History Pin) and general museum objects and stories. And the good news is that they've been successful in securing second round funding, so the full project is now well under way.
We're currently in the middle of running a Creative Visiting Masterclass, which is a set of 1-day workshops looking at a range of different visiting technologies (including Wander Anywhere, but also visual markers, NFC, iBeacons, and so on): see http://wanderanywhere.com/cvm15/ . In terms of projects, it is currently at the Venice Biennale: see http://em15venice.co.uk (there is an on-location experience, via http://wanderanywhere.com/em15/) and we've got a few projects at proposal stage to look at cultural heritage applications.
I highly recommend having a play around with WA. Having the opportunity to try out a locative experience before a huge amount of build begins is really very valuable. I'd also love someone to come up with a game for it, at the workshop we were very taken by the fact that if there are multiple media points overlapping at one site, it will deliver one at random. There's got to be a game in that, any ideas?


× If you are using BS PageBreakMyJspace, please post a rating and a review at the Joomla! Extensions Directory . Thanks!
We have a pagination problem with MyJspace. This seems to only occur with items on Zoo. The pagination styling disappears and appears as a list. what can we do do get the styling back?
What is your zoo version ?
Do you have a screenshot showing the issue and can you explani what is expected instead.
note : for some usage (template, component ...) the plung can't work.
Thank you for the swift response!
You need to set the option 'Index / pagination' = 'index'.
A check will be added in a futur version (already avalaible in beta) to avoid such incorrect configuration.


text:
[74] Westerhof also instructs that the opinion given by a participant expert must be based on the witness' observation of or participation in the events at issue. Here, Dr. Smith testified as to the problems typical of survivors of childhood sexual abuse — evidence going to the issue of whether the assaults occurred. His evidence about survivors as a group was not based on his observation of, or treatment of, Mr. Imeson, and thus went beyond the proper scope of any opinion he could provide as a participant expert.
[75] I conclude that, despite the trial judge's recognition that the role of a participant expert is restricted, she permitted Dr. Smith to exceed his proper role by allowing him to testify about anything contained in his reports, and in admitting the reports into evidence, without first carefully examining what opinions were included in the reports, and the purpose for which it was proposed that the jury consider such opinions.
[76] In light of my disposition of this first issue, strictly speaking there is no need to consider the trial judge's admissibility analysis under Mohan as it relates to Dr. Smith's opinion evidence going to the issues of liability and causation. However, given that I would send this matter back for a retrial, it may be helpful to discuss the appellant's Mohan/White Burgess arguments as they relate to that evidence. I note that Westerhof, at para. 63, recognizes that the court may permit a treating clinician who complies with rule 53.03 to provide evidence extending beyond the bounds permitted for opinion evidence of a participant expert, subject to the court's exercise of its gatekeeping role.
[77] There is also the matter of Dr. Smith's evidence about Mr. Imeson's mental condition, the treatment that he provided, Mr. Imeson's response to treatment and recommended future treatment. As I have said, I accept that it was appropriate for Dr. Smith to provide evidence on those points in his capacity as a participant expert. On appeal, the appellant did not take serious issue with the admission of that evidence, although he suggested it may have been unnecessary. As I would send this matter back for a re-trial, I prefer to leave the question of the admissibility of that evidence under Mohan/White Burgess for the trial judge on the re-trial, if the respondent seeks to have Dr. Smith's evidence admitted on that point.
(2) The Mohan/White Burgess framework
(a) Submissions
[78] The appellant says that Dr. Smith's evidence failed to meet
the threshold requirements to be admissible under Mohan. In
particular, the appellant argues that Dr. Smith's expert evidence

redpajama_set_name: RedPajamaCommonCrawl


The Peak Performance organic coffee seems like a pretty good cup of joe. It has a 4.5 star rating on Amazon, along with the badge for Amazon's Choice. There are a lot of great things behind this brand of organic coffee. So, let's see what we can dig up.
The Peak Performance Organic Coffee is what is called high altitude coffee. It is grown at a higher altitude which results in a more dense coffee bean. Not only does this mean the coffee is of a higher quality grade, the high altitude also tends to give it more antioxidants. These are great for you body as they help to fight off illnesses.
The Peak Performance Organic Coffee is only taken from a single origin. This is opposed to blended coffees. Even though "blended" sounds nice, it means that the coffee beans were taken from multiple locations. Blended coffee is also much harder to guarantee the safety of. One of the beans could have been contaminated. If that is the case, all of the coffee is thus contaminated. Peak Performance organic coffee is only sources from the Guatemalan Highlands. So you can be confident that you are getting pure, quality coffee.
This is very important for companies that claim their product is organic or otherwise. Peak Performance organic coffee is in face USDA Organic certified. This badge is very important because without is, there is no real way to know for sure if the product is organic or not. Many companies can just claim their product is organic, but with the seal, you know for sure. Along with the USDA seal, Peak Performance also has a Fair Trade USA seal. This is another important seal because it shows that by buying this product, you are actively helping the livelihoods of the workers and farmers. In addition, it is also 100% Arabica coffee. The company places that seal on the bottom right corner of the bag.
Peak Performance organic coffee comes in a variety of different types of coffee, depending on your likes and tastes. The standard Peak Performance is Medium Roast Ground coffee. But on their Amazon page, you can also select their Dark Roast, along with choosing weather to get the whole bean or the coffee grounds. If you prefer to grind your own coffee, then get the whole bean. If you favor convenience over much else, grab the grounds. Either way, Peak Performance has something for whichever taste preference.
Peak Performance mainly a coffee company, however they also sell other products relating to keeping you healthy. For example, along with their organic coffees, they also sell Superfood Powder, Hydrolyzed Bone Broth + Collagen Protein Peptides Powder, various vitamin supplements, and even packaged Paleo Granola snacks.
They conduct all business through Amazon, however they do have a website. On their website, you can find information about their coffee, supplements, powders, and even buy an ebook. Their ebook is called "How to Make The Healthiest Cup of Coffee". It goes through the steps that regular coffee brands take to produce their coffee, and tell you what they do differently.
One really cool thing this company does is that with each purchase, Peak Performance also supplies a child at risk of malnutrition with vitamins for a whole year. They have a partnership with Vitamin Angels that does a 1-for-1 donation, with each item purchased from Peak Performance.
High-Altitude grown coffee. This allows for a much higher quality grade coffee than most commercial brands offer. Not only that, high-altitude coffee is also naturally rich in antioxidants, which are great for the body.
Peak Performance organic coffee has only a single origin. This means that the beans were grown and taken from just one place. That place is the Guatemalan Highlands.
This brand of organic coffee comes with plenty of reassurance. USDA Organic Certified seal, Fair Trade USA seal, and 100% Arabica seal. All to assure you, the customer, that you are not only getting high quality coffee, but also that what Peak Performance is claiming is completely true.
They make available 2 different variations of their high-altitude coffee. Dark Roast, and Medium Roast. In addition, you can also choose between whole bean or grounds for each of the variations.
Peak Performance Organic Coffee is a bit pricey. This is common for organic coffees because most of the time their coffee does not have a high availability like commercial brands. On top of that, the way they grow their coffee is expensive as they do not use pesticides or fertilizers.
If you are looking for a good all around every morning coffee, this is probably your best choice. The availability of Dark Roast and Medium Roast gives some freedom of choice, depending on your taste. In addition, with Peak Performance, you have peace of mind, knowing that the coffee is in fact organic, provides better help for workers and farmers, as well as 100% Arabica. So you really know you are getting a great cup of jo' with this brand.
The Peak Performance organic coffee brand is a great organic coffee. They give you plenty of assurances, allows you to help those in need, and you get a great tasting cup of pure fuel. Right now you can pick up any of the variations of Peak Performance for $19.95 on Amazon. For more information regarding the other top 10 best organic coffee, visit Green and Growing.
Here are some top questions that I found for people seriously considering buying Peak Performance Organic Coffee.
What is the weight of the bag? You get a 12 oz. bag from each purchase.
How is the coffee processed? It is wet processed. A newer method of removing the four layers surrounding the coffee bean.
What is so good about High-Altitude grown? The higher altitude results in more antioxidants, along with a better overall flavor and body of the coffee.


It is equally true that some time spent meditating on the good things in our lives can make us far more happy and positive individuals—grateful for that which we have, instead of mourning all the things we don't. Gratitude lists are a powerful tool in recovery, and it's always a good idea to make one out when we're feeling sorry for ourselves.
Many of us concentrate on what we want, instead of what we have. Our Western society is based on consumerism—desire for the next great thing—and many billions of dollars are spent supporting the frame of mind that keeps us wanting, and spending, and wanting again. The same is true of other parts of life. Popular entertainment and society combine to make us believe that certain things mean success, and that we need those things to be happy. Along those lines, it is worth noting that people in Third World countries tend to report that they are generally happy more often than people in the US, despite their much lower standards of living.
Unhappiness arises from expectations. We expect other people in our lives to behave in a particular way, and they persist in doing things that go against our wants. We may have been allowed to grow up believing that only a certain amount of effort is needed in life, and after that we're entitled to reap the benefits—regardless of reality. This is guaranteed to make us bitter when the rest of the world doesn't see things that way. Or we may have been led to believe that no matter how hard we try, we'll never be good enough. This is a dangerous expectation indeed, because it leads to a feeling of defeat that pretty much guarantees that the prediction will prove to be true. Reality is in the middle: if we work hard, we'll gain what we need, and what we need is usually good enough.
Oftentimes, we spend many years being 'more, more, more' types of people, and there is always the temptation to believe that things can make us happy. Fortunately, it is possible to learn that isn't the case — ever —and that we can often improve our mood, demeanor and serenity by bringing our thoughts back to the basic fact that we may or may not be responsible for the ideas we've allowed to be poured into our minds, but we are responsible for how we choose to deal with them.
Sitting down with pen and paper, and concentrating on writing a list of things that we're grateful for can offset the idea that happiness is dependent on things outside of ourselves—that we can buy happiness, or that someone else can fill us with it. It can help us to appreciate what we already have, and also to decide what's really important and what isn't. In my life, I can choose to have an "attitude of gratitude," or I can let my demons drag me around by my wants. It's up to me.


I often hear designers say that although they love vector artwork they wish it wasn't so inherently flat. So, to give vectors more life and add realism to your designs, I'm going to show you a simple method with the help of two powerful plug-ins from Astute Graphics; VectorScribe2 and Phantasm. This tutorial will show how to create a near realistic shield with swords by easily creating shapes using VectorScribe2 and then enhancing them with Phantasm. Find out more at the jump!
Download 14 day free trials of VectorScribe2 and Phantasm plug-ins.
These videos cover the installation, licensing, and activation process. We'll learn more about how they work during the tutorial.
Run Adobe Illustrator, then hit Control-N to create a new document. In the opened dialog box, set the parameters of the artboard and choose the RGB color mode.
Take the Pen Tool (P) and create a path consisting of three straight-line segments. Segment B-C must be placed vertically, so when creating it hold Shift down. Select points A and D using the Direct Selection Tool (A), then click on the Horizontal Align Center button in the Align panel.
Convert straight-line segments A-B and C-D into curvilinear ones. Do this with the PathScribe Tool from the VectorScribe2 plug-in.
After choosing the tool, you'll see new additional controls called Ghost Handles appear on the selected straight-line segments.
You can activate each of these individually by click-dragging the Ghost Handles, (this converts them into standard Bezier curve handles), or by dragging along the segment in the right direction to reshape it. Whilst dragging the second Ghost Handle hold Shift to lock it in the upright position.
Although the current release of Adobe Illustrator CC 17.1 has an improved feature of the Reshape segment, the PathScribe Tool is still extremely useful thanks to Ghost Handles. Also, if you're not yet using the Creative Cloud version of Adobe Illustrator but are using CS4-CS6 then you can definitely benefit from the PathScribe Tool.
Select the path, take the Reflect Tool (O), and holding Alt key, click at the point D. In the opened dialog box, select Vertical Axes and click on the Copy button.
Select the upper points of the shield using the Direct Selection Tool (A), then press Control-J to join paths at the correct point.
Carry out the same actions for the lower points of the shield.
Incidentally, all the actions in this step could be replaced with just two clicks by using the MirrorMe Tool. This tool allows you to draw in symmetry instantly and you can find more details of how it can be used in an earlier tutorial How to Create a Pattern Suitable for Royalty in Adobe Illustrator.
To round the corners of the shield, use the Dynamic Corners Tool (VectorScribe2 plug-in).
To open the tool's panel go to Window > VectorScribe > Dynamic Corners panel. Set the desired radius here, and then with a single click round off the selected corner. You can change the radius of the rounding by dragging the corner marker/markers or setting new values in the Dynamic Corners panel.
Using the Pen Tool (P) create two paths as shown in the picture below.
Reflect them along the vertical axis using the technique described in step 3, or by using the MirrorMe plug-in.
Both parts of the green path must be connected. Round off the corner at the point A using the Dynamic Corners Tool.
Duplicate the green and yellow paths (Control-C > Control-F), then turn off the visibility of the copies in the Layers panel. These objects will be needed later.
Fill the shape of the shield with a neutral gray color and disable the stroke.
Select the paths inside the shield, take the Shape Builder Tool (Shift-M), then select the fill color of your choice (I chose orange). Click with the tool pointer in the center of the shield.
This action will create a new object with your chosen fill color.
Disable the stroke of the object and remove the left-over pieces of the paths in the upper part of the shield.
Turn on the visibility of the paths that were hidden in step 5. Choose the color dark gray for the stroke and increase its width in the Stroke panel.
Duplicate the orange shape, then turn off the visibility in the Layers panel. We'll return to this object later. Using the Line Segment Tool (\) create horizontal and vertical lines, holding down Shift. Both of these lines should extend beyond the orange object.
Select the created lines and the orange shape, then click on Divide in the Pathfinder panel.
Doing this will separate the colored object into four parts. Using the Direct Selection Tool (A) select two opposite parts of the colored object and recolor them in dark gray as shown below.
Using the Pen Tool (P) create a path shown in the picture below.
Create a circle filled with gray using the Ellipse Tool (L).
Drag the circle to the Brushes panel and save a new brush as Scatter Brush, without changing the default settings.
Select the path created in this step, and then apply the Scatter Brush to it.
Double click on the scatter brush icon in the Brushes panel to open the brush settings. Increase the Spacing while watching the changes.
Click OK, then click Apply to Strokes in the new dialog box.
Keeping the path selected, go to Object > Expand Appearance.
Select the lower circle and increase its diameter.
Select all the circles except for the bottom one, then using the Reflect Tool (O) copy them across to the vertical axis of the shield, using the technique described in step 3.
Using the same principle create circles in the upper part of the shield.
You've now created the basic elements of the shield, so it's time to start on the swords. With the help of the Pen Tool (P) create a path that consists of straight-line and curvilinear segments.
Reflect by copying the path across to the point A and the horizontal axis with the help of the Reflect Tool (O).
Connect the path at the point A (Control-J).
Close the path on the right using the Pen Tool (P).
If you want to change the length of the sword's blade you can do this with the Direction Tool (A). Select the points on the right of the object and move them further to the right while holding Shift.
Using the Rectangle Tool (M) create the sword's handle. Align the blade and the handle vertically using the Align panel.
Using the Pen Tool (P) create half of the cross-guard.
Reflect by copying the object relating to the horizontal axis of the sword using the Reflect Tool (O).
When I'm creating new objects I paint them in different colors so I can clearly see the shape's borders.
Using the Line Segment Tool (\) create a horizontal line, with a stroke and no fill, to coincide with the horizontal axis of the sword.
To sharpen this line, take the Width Tool (Shift-W) and create a new width marker (not far from the left hand side) and double-click. Without changing the settings of the dialog box, click the OK button.
Now double-click with the pointer tool at the starting point and set 0px for the Total Width in the opened dialog box.
In my opinion, basic geometric shapes are easier to create using the Dynamic Shapes Tool (VectorScribe2 plug-in). The tool icon is shown in the image below on the Tools panel.
To open the panel, go to Window > VectorScribe > Dynamic Shapes panel. In this panel, we can control all the parameters of a shape. Using the Dynamic Shapes Tool create a rounded rectangle on the right end of the handle of the sword, as shown below.
Using the Pen Tool (P) and Reflect Tool (O) create the pommel of the handle.
Create a small square using the Rectangle Tool (M) and place it as shown below.
Select and Group up (Control-G) all elements of the sword.
Place the sword below the shield and rotate it using the Selection Tool (V), as seen below.
Keeping the sword selected, reflect it by copying it across to the vertical axis of the shield using the Reflect Tool (O).
Before coloring the composition's basic objects, I always create a background. This allows me to determine the position of the light source and the overall level of illumination. First, create a rectangle with a gray fill, the size of which corresponds to the size of an artboard. Using the Mesh Tool (U) create a gradient mesh. Displace some of the mesh points using the Direct Selection Tool (A). You don't need to repeat the pattern shown below exactly, just follow the general guidelines.
The background will represent an old cracked wall. To create new mesh points without creating mesh lines, use the Add Anchor Point Tool (+). This will allow us to do a more detailed mesh line without complicating the entire gradient mesh. Control over the mesh points and their handles is done using the Direct Selection Tool (A). This mesh line will become the basis for the crack in the wall.
Create a few more mesh lines next to it using the Mesh Tool (U). Add some mesh points using the Add Anchor Point Tool (+) to easily control the shape of the mesh lines.
Color mesh points with one mesh line in different shades of dark gray. You'll only be able to color the mesh points that are at the intersection of the mesh lines.
Color the mesh points of the adjacent mesh lines with shades of gray which are lighter in comparison to the background.
This has created the crack in the wall.
Using this described technique, create another crack at the bottom of the background. Color the rest of the mesh points in different shades of gray to create the rough textured effect on the wall.
Now let's create the texture of the wall. Here I've used the free Urban Texture Pack. Choose a concrete texture and place it into the current document (File > Place...). To accelerate the process of tracing, reduce the size of the raster image by entering new sizes in the Transform panel.
Open Image Trace panel (Window > Image Trace). Adobe Illustrator automatically selects the optimal settings for the texture tracing. The only thing we need to do is to select Ignore White option and press the Trace button.
Proceed to Object > Expand or click on the Expand button in the Control panel.
Fill the object of the vector texture with dark gray.
Apply the Soft Light Blending Mode in the Transparency panel to the texture.
Copy the texture of the concrete, then paste it back in (Control-C > Control-B). Move the lower texture a few pixels down, pressing the Down Arrow key, then fill it with a light gray.
By doing this the texture now looks more voluminous.
Create a rectangle filled with white. The size of the rectangle should correspond with the size of the artboard. Using the Mesh Tool (U) create a simple gradient mesh consisting of three rows and three columns.
Color the mesh points, which are at the edges of the gradient mesh, with shades of light gray. In the lower part of the background, the gray color should be a little bit darker than at the top. Let's assume that the light source is located at the top of the composition.
Apply the Multiply Blending Mode in the Transparency panel to the mesh.
To create the streaks on the wall take the Pencil Tool (N) and create the shape shown below near to the top of the background. Fill this object with a linear gradient from white to light gray.
Apply the Multiply Blending Mode and reduce the Opacity to 10% in the Transparency panel.
Create a few more similar objects in the upper and lower parts of the background. These objects must overlap each other.
Using the Pen Tool (P) create a trapezoid shape with a black fill.
Using the Mesh Tool (U) create a gradient mesh as shown below. Control the position of the mesh points and their handles using the Direct Selection Tool (A).
Color the mesh point A with light gray.
Now apply the gradient mesh to the Screen Blending Mode.
Hide the elements of the background that go beyond the artboard. Create a rectangle to correspond with the size of an artboard. Select this rectangle and all the objects of the background, then go to Object > Clipping Mask > Make or use Control-7 shortcuts.
As you can see, the background consists of a complex combination of different properties. I'm going to adjust the color, brightness and contrast of the entire background. Let's do it with the help of the Phantasm plug-in.
Phantasm is invaluable for controlling color directly in Illustrator for vectors, text and embedded images. In fact if you're familiar with Photoshop's color control, then you'll really appreciate Phantasm as it carries out the equivalent functions in Illustrator. Select the background, then go to Effect > Phantasm > Brightness / Contrast.... Now reduce the values of both the Brightness and Contrast and keep an eye on the changes.
Now set the background color by using Phantasm's Hue/ Saturation feature. By using this we can simultaneously manage the hue, saturation and lightness of vector and bitmap embedded images. Color control can be carried out in both CMYK and RGB documents. Select the background, then go to Effect > Phantasm > Hue/ Saturation .... Tick the Colorize option then change the value of Hue and Saturation to achieve your desired background shade.
The Colorize option changes the artwork to a single hue whilst allowing simultaneous adjustment of the Saturation and Lightness. If you use Phantasm's effects, you can access its parameters in the Appearance panel. This gives a clear advantage over any other native methods of recoloring in Adobe Illustrator.
You can even change the sequence of effects in the Appearance panel and it will affect the result.
Copy the group with the shield and swords, then paste it in front (Control-C > Control-F). Keeping the new group selected, click Unite in the Pathfinder panel.
Temporarily disable the visibility of the resulting object in the Layers panel. We'll come back to it later.
Fill the sword's blade with a linear gradient made up of white and three shades of gray. Using the Gradient Tool (G) arrange the gradient perpendicular to the edge of the blade. Gradient colors are located according to the position of the light source so that the lightest color is located at the top.
The process of filling the sword object with linear gradients is shown below.
Cut the pommel of the sword at the points A and B using the Scissors Tool (C).
We can quickly close the obtained paths using the PathScribe Tool (VectorScribe2 plug-in). Select both paths, then click on the Close Path (Ignore Endpoint Handles) in the fly-out menu of the PathScribe panel (Window > VectorScribe > PathScribe panel).
Fill the upper object with elliptical radial gradient as per the image.
Cut the second object of the sword pommel into three parts using the Knife Tool.
Using the Rectangle Tool (M) create a rectangle and then turn it into a gradient mesh. To do this, go to Object > Create Gradient Mesh.... In the opened dialog box set 1 row and 1 column.
Controlling the mesh points and their handles, change the shape of the gradient mesh so that it's as close as possible to one of the shapes obtained in the previous step. For more convenience temporarily reduce the opacity of the gradient mesh.
Restore the opacity to 100% after creating the desired shape, then create new mesh lines using the Mesh Tool (U) and color them as shown in the picture below.
Using the described technique, color the two remaining edges of the sword's pommel.
Create the shadows on the sword using the Pen Tool (P). Fill objects with a linear gradient from white to gray, then apply the Multiply Blending Mode.
For the shape of glares on the metal's surface, use the Screen Blending Mode.
We now need to adjust the colors of the sword using the Hue / Saturation feature of Phantasm as we did previously.
I think it's easier to fill objects with a gray color and then add the desired hues using Phantasm. Using the described technique color the second sword.
Create a gradient mesh from the lowest shape of the shield, which consists of several rows and columns using the Mesh Tool (U). Color the nodes with different shades of gray. As we're creating metal objects, the range of shades must be very broad, from very light to very dark ones.
Color all of the round shaped rivets on the shield in dark gray.
Copy the rivets then paste them back in (Control-C > Control-B). Recolor copies with white, then move them a few pixels down using the Down Arrow key to create glares at the edge of the hole.
Copy all the dark gray circles and paste them in front (Control-C > Control-F). Ungroup new circles if they are in groups. Now go to Object > Transform > Transform Each.... Set 90% for Scale options in the opened dialog box.
Keeping the circles selected, go to Object > Create Gradient Mesh.... Set 3 rows and 3 columns in the opened dialog box. Color the gradient mesh as shown in the pictures below.
I want the central part of the shield to be be wooden.
To create this effect, I'm using the free raster wooden texture from freestocktextures.com. Paste the image into your document (File > Place...). Now click on the Embed button in the Control panel.
Set the Hard Light Blending Mode for the wooden texture in the Transparency panel.
Turn on the visibility of the orange shape which we hid in step 7 of the second division.
Duplicate this shape (Control-C > Control-F) and turn off the visibility of the upper object in the Layers panel.
Fill the orange shape with white, then using the Mesh Tool (U) create a gradient mesh, as shown below.
Color the mesh points on the top of the gradient mesh in a dark gray, and the mesh points on the sides and bottom of the gradient mesh in a light gray.
Apply the Multiply Blending Mode to the gradient mesh.
Turn on the visibility of the orange object that we hid in step 13 of this section.
Select the bitmap texture, gradient mesh, and orange object, then go to Object > Clipping Mask > Make.
Fill the paths on the edges of the shield's metal with a gradient consisting of white and two shades of gray using the Gradient Across Stroke. Here I'd like to note that you can only apply a gradient fill to the stroke if you're using recent versions of Illustrator (CS6-CC).
As well as the swords, the objects of the shield must correspond with the lighting. Change the hue of the metal objects by using Phantasm's Hue/Saturation feature.
You can work with each object individually as well as with selected groups of objects, depending on what result you want to achieve.
Select the bottom object of the shield. This is gradient mesh. Now go to Effect > Stylize > Drop Shadow... and set the parameters shown in the picture below.
Now select all the objects we've created, except for the background, and then group them up (Control-G). Apply the Drop Shadow effect, with the parameters listed below, to the group.
One of Phantasm's unique features is that the plug-in can work with the Alpha channel which contains raster effects. By controlling the Alpha Image channel, we can change the transparency level and lower and raise the color strength. In other words we can gain complete control over this effect which can't be done by controlling the parameters of the Drop Shadow effect.
Select the object or the group to which the Drop Shadow effect is applied, then go to Effect > Phantasm > Curves.... In the opened dialog box, select Image Alpha from the drop-down list. Change the shape of the curve while watching the changes.
For the last step of this tutorial we need to create a texture for the metal elements. The method of creating a vector texture isn't different from the method described in step 4 of the third division. Color the vector objects by auto tracing the gray-green.
Apply the Multiply Blending Mode to the texture and reduce the opacity in the Transparency panel.
Turn on the visibility of the hidden layer in step 1 of the fourth section and place it above all the created objects.
Select the texture and the upper object, then apply Control-7 shortcuts to create a Clipping Mask. Place the resulting Clipping Group below the shield's wooden elements, moving it down in the Layers panel.
We did a good job today with the help of two plug-ins from Astute Graphics to add realism to our vector artwork, so I think it's appropriate to place the company logo on our shield.


text:
Interview: Max DeGroot on 'The Beach Bears'
Posted by TimidGrizzly on Mon 23 Sep 2013 - 15:19
A new art form is being developed in the furry fandom. It is like a soap opera in that a central cast of characters tells story arcs in chapters within a larger consistent setting. When one story arc is over, another begins. But unlike a soap opera, at the end of each chapter or episode is a covered song or parody song that relates to the chapter or episode. Each chapter averages eight minutes long. The production is titled The Beach Bears.
After listening to the a few chapters, I wanted to know more of the story, and more about how this exciting work came to exist. The Beach Bears was created and is produced by Max DeGroot. Mr. DeGroot was kind enough to grant me an interview to satisfy my curiosity.
TG: Could you tell us a little about yourself?
MDG: Well I have been active in the Furry Fandom for many years as a furry convention chair, a puppeteer, and a musician. One of my current labors of love is an audio drama series titled The Beach Bears.
TG: I have listened to The Beach Bears and I must say it is a very unique and entertaining format that has me hooked. How did you come up with the concept?
MDG: It all started when I created Dipper as a minor character for a single comic strip. But the Dipper character refused to be a minor character and developed into a major character in my song work. In 2011 I was covering a series of academy award nominated songs and I had Dipper sing "Somewhere Over the Rainbow". It was a big hit. Then Dipper covered the Beatles song "I Feel Fine" with Dipper singing all three parts. This was also very popular. People had also heard several songs I recorded using the voice of StarGazer (another character I created) and my own voice. Some one suggested a song using all three of these voices would be great. So I recorded "Sloop John B" using all three voices (Dipper, Stargazer, and myself). I dubbed the group of three singers The Beach Bears after The Beach Boys who had a big hit with "Sloop John B" and because the three characters are bears. But that meant I had to create a character for my own voice in the group. I sought the help of WolfTeller (adtuna1192 on Fur Affinity) to create the look and the name for the third voice. WolfTeller created Birch, but Birch still did not have a defined personality. As the group recorded more songs, I developed Birch's personality. The Beach Bears covered a number of other songs. When I posted "Goodbye Yellow Brick Road", I also posted a short story explaining why Dipper was singing it. Later I recorded this short story and included it before the song. People really liked this. So the Beach Bears did "Early Morning Rain" and other songs with small stories recorded with the songs. And the story/song format was born as part of The Beach Bears.
TG: I have listened to The Beach Bears story and it is so much more than covered songs with explanation stories for each song. How did the story arcs get started?
MDG: That developed as the project grew. After a number of The Beach Bears songs and stories, I realized I could not start the larger story of the group in the middle and needed a beginning for The Beach Bears. "Goodbye Yellow Brick Road" became chapter 20 of The Beach Bears story and chapters 1 though 19 became the back story explaining how the group formed and giving some background for each member. For each chapter sometimes the song dictates the story, sometimes the story dictates the song covered. With each song the story and the characters' personalities grew. The story has now grown to include many story arcs and over 14 hours of material. Birch is the musical professional with a passion for music; Dipper is the kid with the great voice, but a little emotional; and StarGazer is the voice of reason in the group.
TG: Do you have a favorite song or chapter in the story?
MDG: There are all special in their own way. But if I had to choose, I am really proud of "Sloop John B" for all the polyphonic elements it incorporates. But the story arc where StarGazer rediscovers how to love is one of my favorites.
TG: While listening to The Beach Bears I heard more than three characters. Do you do all the voices?
MDG: In the beginning I did them all. But there were only three – Dipper, StarGazer, and Birch. I still do these three characters. As the story expanded, other supporting characters where introduced and other furs came on board to help with voice talents as needed. The Beach Bears now has a cast of seven main characters and numerous minor characters. I am very fortunate to have many talented voices contributing to the production.
TG: And all the content is free for the listening?
MDG: Yes. I do accept donations to help defray the cost of song purchases and replacement recording equipment. If you feel The Beach Bears is worthwhile, I would be much obliged if you would send a donation my way, via PayPal, degroot.max[at]gmail.com. Any amount is gladly accepted.
TG: Do you see an end to the project?
MDG: Not at this time. As long as there are Beach Bear fans requesting more songs and stories, and there are more songs I want to cover; we will keep producing The Beach Bears chapters.
TG: Thank you for talking with us today and thank you for The Beach Bears. Where can the listeners hear The Beach Bears?
MDG: The Beach Bears can only be heard online. The entire story, all 14 hours so far, has been archived , or listeners can go to The Beach Bears Introduction and follow the NEXT navigation links to subsequent chapters. [They're also collected in a pool on Inkbunny.]
So there you have it, folks. A brand new art form being developing in the furry fandom. Having listened myself, I definitely recommend listening to The Beach Bears story. It will grab you emotionally and entertain you at a level I have not seen in some time.
Anon (visitor) — Sun 29 Sep 2013 - 17:05
Perhaps you could have asked him about his crazy conservative viewpoints instead of some audio series that he's working on. This insane race-war conspiracy rant on his livejournal is a far more interesting look into who he is.
http://maxgoof.livejournal.com/614922.html
Just the tip of the iceberg folks.
I have read the LiveJournal linked in the comment. Yes it does state some very conservative views. Some I agree with and some I do not. And most of the conclusions or drawn inferences I do not agree with. I am not even sure if he was doing drama or if these are his real views.
I have also listened to The Beach Bears story. I do not detect any conservative views being pushed on the audience. Some of his characters have conservative views, but the views are strictly personal (like StarGazer's views on marriage and sex). Some of the characters display very liberal views (like Birch and Bobby). But one thing I do know, the personal views of Max DeGroot do not change my opinion that The Beach Bears is a clean (PG rated), well told story. You and I may not like DeGroot's political views, but his story telling is top notch. I like The Beach Bears story.
Damian (visitor) — Sat 19 Oct 2013 - 00:22
Finding The Beach Bears has been one of the best things on the internet. Defiantly has some of the most intense arcs Ive encountered other than tracking down the xindi weapon.
TimidGrizzly — read stories — contact (login required)
a computer consultant, network administrator and Grizzly bear (Ursus arctos horribilis) from Southern California, USA
Very grey muzzle bear and a incurable romantic. A favorite activity is collecting and celebrating the memories of fine graphic art, stories by good writers, and excellent fursuit performances. In RL people tell me I am an excellent computer network administrator and computer technician.
Help Start a New Fantasy Graphic Novel
Review: 'Porcupine Passions'
Furry radio play 'Fursona Non Grata' to...
Furry Site to Release Audio Theater piece
More a sort of Apres Vie
Animated ferret musical in production
Another furry website joins the scene - FurryLife Online
Digging up Positivity - Furry charity and good news -...


text:
Russia slams US maximum pressure policy against Iran
TEHRAN, Apr. 29 (MNA) – Russia has slammed the United States' policy of maximum pressure against the Islamic Republic, saying such measures have negatively affected the global non-proliferation regime and regional security.
"What is the main result of US maximum pressure policy? The compelled reduction of Iranian commitments under #JCPOA. Isn't it high time to reassess objectively counterproductive decisions which have affected negatively the global non-proliferation regime and regional security?" Russia's Permanent Representative to the United Nations Mikhail Ulyanov wrote on Twitter on Tuesday.
US President Donald Trump unilaterally pulled Washington out of the JCPOA in May 2018 and reimposed "toughest ever" sanctions against the Islamic Republic in defiance of global criticism.
In response to the unilateral move, as well as the European signatories' failure to safeguard Iran's economic interests in the face of US sanctions, Tehran rowed back on its nuclear commitments step-by-step in compliance with Articles 26 and 36 of the JCPOA, but stressed that its retaliatory measures will be reversible as soon as Europe finds practical ways to shield the mutual trade from the US sanctions.
In another tweet earlier on Tuesday, Ulyanov called the US allegations of nuclear commitment and Washington's plans to reinstate UN sanctions against Iran "pessimistic".
"The United States now claims that it will remain a member of the UN Security Council and that it can use the UN Security Council Resolution 2231 to establish a mechanism to restore UN sanctions against Iran. It has nothing to do with the fact that the United States has long been out of the deal and trying to break it down. It's pessimistic," he wrote.
US Secretary of State Mike Pompeo plans to invoke a provision in the Iran nuclear agreement in an effort to either extend an arms embargo on Iran or reimpose even harsher United Nations (UN) sanctions, the New York Times reported on Sunday.
Last week, Pompeo also called on the UN Security Council to extend Iran's arms embargo under the pretext of preventing a new arms race in the Middle East.
Iranian Foreign Minister Mohammad Javad Zarif criticized the bullying policies of the US regarding the nuclear deal and UN Security Council Resolution 2231.
MNA/4912244
Lavrov, Zarif dismiss US new plot for JCPOA as 'unfeasible'
'This is Persian Gulf not gulf of New York or Washington'
'US has no legal argument to be JCPOA participant': Iran UN envoy
US' maximum pressure failing against nuclear deal's internal strength
Russian diplomat calls new US JCPOA plan 'common sense mockery'
BRICS ministers demand removal of US sanctions amid outbreak
US' new allegations against Iran pessimistic: Ulyanov
US withdrawal from JCPOA leads a security decline in PG: Ulyanov
US anti-Iran maximum pressure policy led nowhere
Mikhail Ulyanov


The Cruise Craft Explorer range of family fishing boats has been expanded with the release of the new Explorer 485 model.
Measuring 4.95m long (including bowsprit), the Explorer 485 features a cuddy-cab with open vee storage bins, big forward walkthrough deck-hatch, and expansive cockpit.
The boat is rated to carry four adults with a maximum power rating of 90hp, in either two-stroke or four-stroke configuration. The recommended power is 70hp. The Explorer 485 is packaged with a single axle galvanised trailer, and with a kerbside weight of around 1100kg, the boat is easy to tow, back and store.
Inside the boat there is plush upholstery, including padded coamings, a walkthrough transom door, and a big walkthrough deck-hatch that provides excellent access to the bowsprit and anchor.
At the helm there is ample dash space for engine instrumentation as well as marine electronics. The helm and passenger seats are fitted to elevated pedestals, while additional seating is provided across the rear of the cockpit with an optional full width fold-down rear bench seat.
Peter Benston, national sales & marketing manager at Cruise Craft, said the 485 was a boat that would introduce families to the Cruise Craft brand.
"When we reviewed our product line-up we felt there was a glaring omission and that was with the entry level family fishing boat," he said.
"Our product line-up of Outsiders, Explorers, Resorts and Executive boat is very comprehensive, but we felt that the Cruise Craft brand was lacking a model to offer the first time boaters.
"Our dealers were telling us that new boaters were very comfortable with the Cruise Craft brand, but felt that we didn't have a boat small enough to suit their level of skill and confidence.
"The Explorer 485 is the answer. We believe that once new boaters, or those moving up from a dinghy, experience the Cruise Craft brand through the Explorer 485, they will go on and further their boating with the bigger Cruise Craft models," he added.
The hull is foam filled for integral strength, buoyancy and quietness. And like all models in the Cruise Craft range, the Explorer 485 is fully backed by a seven-year structural guarantee on the hull.
A fully rigged BMT package ready for the water comes with a recommended retail price of around $30,000.
Visit www.cruisecraft.com.au for more information.
Cruise Craft said it reserves the right to change specifications without incurring obligations whatsoever.


text:
Home > LAW > PLR > Vol. 41 (2013) > Iss. 5
Rethinking the "Religious-Question" Doctrine
Christopher C. Lund
The "religious question" doctrine is a well-known and commonly accepted notion about the First Amendment's Religion Clauses. The general idea is that, in our system of separated church and state, courts do not decide religious questions. And from this premise, many things flow — including the idea that courts must dismiss otherwise justiciable controversies when they would require courts to resolve religious questions. Yet a vexing thought arises. The religious-question doctrine traditionally comes out of a notion that secular courts cannot resolve metaphysical or theological issues. But when one looks at the cases that courts have been dismissing pursuant to the religious-question doctrine, none of them involve questions of a metaphysical or theological nature. Cases sometimes require decisions about what particular individuals or religious communities happened to believe, how they acted, or what motivated their actions. But those are temporal and ultimately empirical questions, which courts can investigate like they investigate everything else. So when some claim that the doctrine is necessary to keep the government out of theological issues or to maintain the government's religious neutrality, they seem to go wrong. And when this thread gets pulled, the religious-questions doctrine just seems to unravel. This short symposium piece leaves much unanswered, but it suggests that a reconceptualization of the religious-question doctrine might be in order. If the religious-question doctrine is not primarily about the government's inability to decide theological or metaphysical questions, what is it about? This piece tentatively suggests an answer: It is about religious liberty. Courts stay out of religious questions when they believe religious liberty is best advanced by courts staying out of religious questions. And courts get involved in religious questions when they believe religious liberty is best advanced by courts getting involved in religious questions. At bottom, the religious-question doctrine has more to do with religious liberty than religious questions.
Christopher C. Lund Rethinking the "Religious-Question" Doctrine, 41 Pepp. L. Rev. 1013 (2013)
Available at: https://digitalcommons.pepperdine.edu/plr/vol41/iss5/8
Constitutional Law Commons, Courts Commons, First Amendment Commons, Religion Law Commons
2021-2022 Editorial Board
All Issues Vol. 2020, Iss. 1 Vol. 2019, Iss. 1 Vol. 2018, Iss. 1 Vol. 2017, Iss. 1 Vol. 2016, Iss. 1 Vol. 2015, Iss. 1 Vol. 2014, Iss. 1 Vol. 2013, Iss. 1 Vol. 48, Iss. 4 Vol. 48, Iss. 3 Vol. 48, Iss. 2 Vol. 48, Iss. 1 Vol. 47, Iss. 4 Vol. 47, Iss. 3 Vol. 47, Iss. 2 Vol. 47, Iss. 1 Vol. 46, Iss. 4 Vol. 46, Iss. 3 Vol. 46, Iss. 2 Vol. 46, Iss. 1 Vol. 45, Iss. 4 Vol. 45, Iss. 3 Vol. 45, Iss. 2 Vol. 45, Iss. 1 Vol. 44, Iss. 5 Vol. 44, Iss. 4 Vol. 44, Iss. 3 Vol. 44, Iss. 2 Vol. 44, Iss. 1 Vol. 43, Iss. 5 Vol. 43, Iss. 4 Vol. 43, Iss. 3 Vol. 43, Iss. 2 Vol. 43, Iss. 1 Vol. 42, Iss. 4 Vol. 42, Iss. 3 Vol. 42, Iss. 2 Vol. 42, Iss. 1 Vol. 41, Iss. 5 Vol. 41, Iss. 4 Vol. 41, Iss. 3 Vol. 41, Iss. 2 Vol. 41, Iss. 1 Vol. 40, Iss. 5 Vol. 40, Iss. 4 Vol. 40, Iss. 3 Vol. 40, Iss. 2 Vol. 40, Iss. 1 Vol. 39, Iss. 5 Vol. 39, Iss. 4 Vol. 39, Iss. 3 Vol. 39, Iss. 2 Vol. 39, Iss. 1 Vol. 38, Iss. 5 Vol. 38, Iss. 4 Vol. 38, Iss. 3 Vol. 38, Iss. 2 Vol. 38, Iss. 1 Vol. 37, Iss. 5 Vol. 37, Iss. 4 Vol. 37, Iss. 3 Vol. 37, Iss. 2 Vol. 37, Iss. 1 Vol. 36, Iss. 5 Vol. 36, Iss. 4 Vol. 36, Iss. 3 Vol. 36, Iss. 2 Vol. 36, Iss. 1 Vol. 35, Iss. 5 Vol. 35, Iss. 4 Vol. 35, Iss. 3 Vol. 35, Iss. 2 Vol. 35, Iss. 1 Vol. 34, Iss. 5 Vol. 34, Iss. 4 Vol. 34, Iss. 3 Vol. 34, Iss. 2 Vol. 34, Iss. 1 Vol. 33, Iss. 4 Vol. 33, Iss. 3 Vol. 33, Iss. 2 Vol. 33, Iss. 1 Vol. 32, Iss. 4 Vol. 32, Iss. 3 Vol. 32, Iss. 2 Vol. 32, Iss. 1 Vol. 31, Iss. 4 Vol. 31, Iss. 3 Vol. 31, Iss. 2 Vol. 31, Iss. 1 Vol. 30, Iss. 4 Vol. 30, Iss. 3 Vol. 30, Iss. 2 Vol. 30, Iss. 1 Vol. 29, Iss. 4 Vol. 29, Iss. 3 Vol. 29, Iss. 2 Vol. 29, Iss. 1 Vol. 28, Iss. 4 Vol. 28, Iss. 3 Vol. 28, Iss. 2 Vol. 28, Iss. 1 Vol. 27, Iss. 4 Vol. 27, Iss. 3 Vol. 27, Iss. 2 Vol. 27, Iss. 1 Vol. 26, Iss. 4 Vol. 26, Iss. 3 Vol. 26, Iss. 2 Vol. 26, Iss. 1 Vol. 25, Iss. 4 Vol. 25, Iss. 3 Vol. 25, Iss. 2 Vol. 25, Iss. 1 Vol. 24, Iss. 4 Vol. 24, Iss. 3 Vol. 24, Iss. 2 Vol. 24, Iss. 1 Vol. 23, Iss. 4 Vol. 23, Iss. 3 Vol. 23, Iss. 2 Vol. 23, Iss. 1 Vol. 22, Iss. 4 Vol. 22, Iss. 3 Vol. 22, Iss. 2 Vol. 22, Iss. 1 Vol. 21, Iss. 4 Vol. 21, Iss. 3 Vol. 21, Iss. 2 Vol. 21, Iss. 1 Vol. 20, Iss. 4 Vol. 20, Iss. 3 Vol. 20, Iss. 2 Vol. 20, Iss. 1 Vol. 19, Iss. 4 Vol. 19, Iss. 3 Vol. 19, Iss. 2 Vol. 19, Iss. 1 Vol. 18, Iss. 4 Vol. 18, Iss. 3 Vol. 18, Iss. 2 Vol. 18, Iss. 1 Vol. 17, Iss. 4 Vol. 17, Iss. 3 Vol. 17, Iss. 2 Vol. 17, Iss. 1 Vol. 16, Iss. 5 Vol. 16, Iss. 4 Vol. 16, Iss. 3 Vol. 16, Iss. 2 Vol. 16, Iss. 1 Vol. 15, Iss. 4 Vol. 15, Iss. 3 Vol. 15, Iss. 2 Vol. 15, Iss. 1 Vol. 14, Iss. 4 Vol. 14, Iss. 3 Vol. 14, Iss. 2 Vol. 14, Iss. 1 Vol. 13, Iss. 4 Vol. 13, Iss. 3 Vol. 13, Iss. 2 Vol. 13, Iss. 1 Vol. 12, Iss. 4 Vol. 12, Iss. 3 Vol. 12, Iss. 2 Vol. 12, Iss. 1 Vol. 11, Iss. 5 Vol. 11, Iss. 4 Vol. 11, Iss. 3 Vol. 11, Iss. 2 Vol. 11, Iss. 1 Vol. 10, Iss. 4 Vol. 10, Iss. 3 Vol. 10, Iss. 2 Vol. 10, Iss. 1 Vol. 9, Iss. 4 Vol. 9, Iss. 3 Vol. 9, Iss. 2 Vol. 9, Iss. 1 Vol. 8, Iss. 4 Vol. 8, Iss. 3 Vol. 8, Iss. 2 Vol. 8, Iss. 1 Vol. 7, Iss. 4 Vol. 7, Iss. 3 Vol. 7, Iss. 2 Vol. 7, Iss. 1 Vol. 6, Iss. 3 Vol. 6, Iss. 2 Vol. 6, Iss. 1 Vol. 5, Iss. 3 Vol. 5, Iss. 2 Vol. 5, Iss. 1 Vol. 4, Iss. 3 Vol. 4, Iss. 2 Vol. 4, Iss. 1 Vol. 3, Iss. 3 Vol. 3, Iss. 2 Vol. 3, Iss. 1 Vol. 2, Iss. 3 Vol. 2, Iss. 2 Vol. 2, Iss. 1 Vol. 1, Iss. 3 Vol. 1, Iss. 2 Vol. 1, Iss. 1


Valentine's Day isn't all about love-hearts you know, and Links of London proves that beautifully.
Jewellery is one of our favourite gifts to give and receive on Valentine's Day and there is a new brand on the block that we have been obsessing over since it arrived on Littlewoods Ireland.
The beautifully named Links of London is all about dainty chains, delicate charms and beautiful detailing. We know that whoever opens up one of these on Valentine's Day would be very happy indeed.
If anything catches your eye, just click on the love-heart beside the image – it couldn't be easier right?
This sterling silver kindred soul pendant is a perfect gift for Valentine's Day as it is a great way to show your appreciation for a loved one. The delicate design is great for everyday wear.
This timeless 18-carat rose gold necklace is a subtle nod to one of London's most iconic landmarks, Big Ben. This is a wonderful gift for anyone who has a certain love affair with the capital across the sea.
A beautiful combination of sparkling pave diamond and classic, contemporary silver, this elegant Links of London bracelet is ideal for everyday wear.
Bring a bright new look to your jewellery collection. Wear the cord at the front or back depending on your look.
Make a wish with this emblem of good luck, which has been beautifully crafted in sterling silver, to create this beautiful charm.
We're a fan of all things kooky and wonderful here at Littlewoods Ireland, and this custard cream charm is right up our street.
These will really capture her heart. Perfect for everyday wear, these elegant heart-shaped studs from Links of London are sparkling heaven.
Make the biggest dating day of the year even easier by letting us wrap your gift for you so that it arrives looking absolutely perfect!


text:
Industry HeadlinesQuality Exclusives
QUALITY WEB EXCLUSIVE
Artec Eva Cast in Starring Role at Leading Foundry
Willman Industries Inc., a Wisconsin-based full-service jobbing foundry offering design, pattern making, heat-treating and machining, recently purchased an Artec Eva from Exact Metrology.
Willman was already familiar with the benefits of 3D scanners as it was looking to upgrade from an older laser scanner and Faro arm. Efficiency working with large castings up to 30,000 pounds was the benefit that sold them on the Eva, says Steve Young, the owner of Exact Metrology.
"With the larger castings, the [Artec] scanner can be taken to the casting rather than having to move the casting to where the scanning arm is," says Dana Green, an account manager at Exact Metrology. "That along with the large field of view allows for faster capture rates compared to that of the arm and scanner. Additionally the accuracy tolerances are well within the Eva's capabilities."
Since its purchase, says Randy Parker, Willman's quality manager, the Eva has been in use practically every single day in some capacity or another. Parker estimates the Eva has been instrumental in QA on approximately 50 jobs so far, "working out well beyond expectations."
"We've made numerous improvements to our process with it. Our dimensional control has improved not just from measuring the castings but from checking multiple process inputs with the Eva," Parker says.
Dimensional control is carried out to determine if the quality of castings meets expected values by comparing the data captured with the scanner against known CAD files. This also helps with issues that can come up during the casting process such as core shift. The Eva captures data at an accuracy level well within the confines of the needs for the castings, capturing and processing the data of larger castings much quicker than a laser scanner.
"Using an arm and laser scanner could take hours to scan a large casting, add to that the processing of the large data sets and it may take a day to get results," says Green. "With the Eva, the casting can be captured in less time and provide processed results faster, thus allowing faster feedback on the production process to maintain quality."
According to Parker, Willman Industries have greatly expanded the primary use they bought the Eva for to include tooling analysis, pattern and mold scanning, reverse engineering and problem solving.
Problems such as uneven cooling can be encountered within casting scenarios, leading to production errors. With the faster data capture and measurement results, Parker can see errors in portions of a casting that can only be attributed to uneven cooling. This helps adjust production methods, resulting in lower production losses in time and materials.
Parker says he knew the Eva would help supply layout castings more rapidly but is amazed at the actual pace – some tasks are accomplished in 75 percent less time. He cited some castings that historically would have stretched over a period of seven to 10 days now being finished in six to 10 hours.
Parker refers to the Eva as "crazy efficient," adding, "The rate at which you can capture data is fantastic."
"Without a doubt the Eva has saved our company money," says Parker. "We definitely promote it to customers as a valuable tool that will enable us to meet their castings' requirements."
Source: ARTEC 3D
KEYWORDS: 3D scanning


Who can say no to a big fat slice of carrot cake loaded with white cream cheese frosting and a cute little orange frosting carrot on top?
You'd be surprised - there's a better alternative!
Choose a carrot cake smoothie recipe and you can have the same delicious dessert in a cup that is actually healthy for you.
With ingredients like fresh carrot juice, creamy almond milk, your favorite carrot cake spices and other surprises, you can't go wrong!
This delicious smoothie has only 207 calories and packs 17 grams of protein! Any type of milk will work. The banana here adds amazing creaminess.
Place all ingredients into a high powdered blender and blend until smooth.
If you want a well chilled smoothie, don't put ice in it - it will dilute the taste of the fruits and veggies.
Instead, freeze banana slices using the simple method here, then add them to your smoothie instead of ice. Your smoothie will be well chilled with a richer taste and texture.
* Many thanks to our reader Deborah for the tip!
With this recipe you can have your cake and eat it, too!
You get fruits, veggie juice, and protein packed into one scrumptious smoothie. Feel free to swap out the green with whatever you have on hand. The sweetness of the carrots and fruits even masks the bitterness of kale.
⅛ tsp each of cinnamon, nutmeg, and ground cloves.
Blend well, pour into a glass and enjoy!
Vitamins, minerals, antioxidants, fiber, and omega-3. You'll find them all in this healthy yet comfort food smoothie. The vitamin e, vitamin c, and beta-carotene are all great for your skin.
Combine ingredients in blender and blend until desired consistency is achieved.
Take your oatmeal to go in this fast and easy smoothie. This smoothie is loaded with fiber and guaranteed to keep you full until lunch.
Some people prefer to cook their oatmeal before adding it to a smoothie. Personally, I just add a scoop right from the container and find that it contributes to the smoothie's consistency quite nicely.
A pinch of cinnamon, nutmeg, and ground cloves.
This delicious smoothie combines all the goodness of carrot cake with a little taste of tropics. Coconut and pineapple provide plenty of manganese and an all natural sweetness to this creamy smoothie.
Combine all ingredients except toasted coconut in blender.
Blend on high until carrot is liquified.
Pour into a large glass and top with toasted coconut.
Kids won't even realize they are getting two servings of veggies in this quick and easy smoothie. In addition, blueberries are a superfood - loaded with fiber and antioxidants!
½ cup frozen spinach until well blended.
Nothing better than getting your veggies in the form of a milkshake!
Cut down on prep time for this drink by soaking your almonds overnight and so they are ready to go for a breakfast shake. Or you can prep the entire milkshake and chill the whole thing over night.
Wash and soak almonds for at least 4 hours. Remove the skin and set aside.
Bring milk to a boil and add sugar.
Simmer the milk for about 5 minutes, stirring constantly.
Add sliced carrots, almonds and cardamom powder. Switch off the stove.
Keep the pan covered and set aside to cool. It can be refrigerated as well.
Blend almonds, carrots and half of the milk to smooth puree. Then add the rest of the milk and blend once more.
Serve carrot milkshake chilled or at room temperature.
This smoothie is great for boosting immunity since it is packed with vitamin a and vitamin c. In addition, both the yogurt and almond milk add a calcium boost that growing kids need.
Carrots - 3 big, whole, chunky ones.
Put the carrots through a juicer.
Add the carrot juice, mango, yogurt, honey, almond milk, and ice cubes to a blender.
Dates, cashews, hemp seeds, and ginger. This smoothie requires a bit of prep work and some out of the ordinary ingredients, but is completely worth the extra effort.
Homemade almond milk is definitely ideal but store bought will do the trick, too.
Add all of the ingredients to your high speed blender and process until smooth and creamy.
Top with a little cinnamon and a pinch of grated carrots. Enjoy immediately.
Optional – instead of the hemp seeds, for additional nutritional support, you could also opt for a scoop of Vega Plant-Based Protein Powder, either the Vanilla Chai or straight Vanilla would be great.
This smoothie uses Vega Vanilla Chai protein powder which packs in 20 grams of protein plus vitamins and minerals, omega-3 fatty acids and probiotics. You can use any other protein powder you like.
Blend well, pour into a glass and savor!
These recipes allow you to enjoy the flavors of carrot cake at any time of the day.
They will cure your sweet tooth without the refined sugars and regret that can come from indulging in carrot cake.
Enjoy all of the traditional flavors of a homemade carrot cake, in a super healthy smoothie version that's yummy, easy and quick to make!
Wow, these sound like an awesome way to get a sweet hit that's actually healthy.
My usual choice has been something like vanilla but I think some of these recipes are quickly going to become my new favorites when my willpower starts to wane!
Hi Mike, if you're a big fan of carrot cake I'm pretty sure you're going to absolutely love these smoothies!
Love to get your thoughts once you've tried some of them!
I love carrot cake and have really missed swapping it for things like smoothies. How awesome to know I can have the best of both worlds! Definitely want to try some of these pretty soon!
Thanks for your comment, Peter! It definitely sounds much naughtier than it is, right?


Book: Matthew (1), Acts (1), 1 Corinthians (59), Ephesians (1), 1 Peter (1).
Series: The work of God in the soul of man (3), God The Holy Spirit (1), The Greatest of these is Love (2), The Glory of Redemption (1), Lessons from the church in Corinth (28), The Lord's Prayer (1), Miscellaneous (23).
Service: Sunday Morning (43), Sunday Evening (14), Midweek Meeting (1), Good Friday (1).
1 Corinthians 15:1-26 (Part of the Miscellaneous series).
Preached by Nigel Clifford on September 11, 2016 (Sunday Morning).
Preached by Mark Barnes on January 3, 2016 (Sunday Morning).
1 Corinthians 1:18-31 (Part of the Miscellaneous series).
Preached by Arnallt Morgan on September 13, 2015 (Sunday Evening).
1 Corinthians 1:1-17 (Part of the Miscellaneous series).
Preached by Arnallt Morgan on September 13, 2015 (Sunday Morning).


George Nelson Modern Orange Wood Ball Clock from Vitra Wall Clocks. Nelson Orange Ball Clock 1946 - 13"DIA Vitra Original. Vitra Orange Ball Clock 1946/47 by George Nelson. Wall Ball Clock with Orange Balls, design George Nelson. The George Nelson Orange Ball Clock is a beautiful modern wall clock!
The Nelson Ball Clock is without question one of the most popular wall clocks ever made. George Nelson designed the Ball Clock in the late 1940s at the start of the economic boom. The beautiful Nelson Orange Ball Clock has become a classic icon of modern design. The Ball Clock is one of the most unique and modern wall clocks from Vitra Design Museum collection. This George Nelson Orange Ball Clock is an authentic Vitra re-edition, fully authorized by the George Nelson estate. The Nelson Ball Clock is easy to attach to your wall and works with one AA battery.
Stock product, ships in 1-2 business days.


Fat Toni's (Toni) was located on St. Aldate Street, Gloucester until November 2018 when it suddenly closed, disappointing pizza fans looking for a delicious pizza in the area.
Thankfully, this closure is not for forever.
Keeping quiet for now about the future, he promises that more news will be incoming in the following weeks.
Though there is still "quite a bit of work to do" on the new location, the new store could be open for pizza lovers by early February.


text:
Angela Giral
Angela Giral was born in Madrid less than a year before the Spanish Civil War started. The family escaped from their summer residence in San Rafael, walking all night through the Segovia Forest. In 1939, they moved to Mexico, where Angela attended the National University (UNAM). In 1956, she moved to Ann Arbor, where she obtained a Masters of Library Science. She has worked as a librarian at Princeton (Urban and Environmental Studies), Harvard (Graduate School of Design), and Columbia (Avery Architectural and Fine Arts Library). She became an American citizen in 1970. From her early childhood, listening to the songs of the Spanish Civil War, she was in awe of the young people who gave their energy, youth, and, sometimes, their lives, to defend democracy and the republican ideals of her country when it was an early victim of fascism.
In People Roles: Board


What is West Lothian Taxi Fare from Torphichen to falkirk ?
West Lothian Taxi Fare from Torphichen to falkirk is GBP £ 14. The total distance between Torphichen to falkirk being 11.762 Mile takes about 17 minutes to cover the distance. Taxiautofare.com not only provides you with a taxi fare calculator that gives you the price estimation required to travel from a source to destination but also shows you these fares according to traffic variance. There is usually a surcharge on your bill based on the traffic charged by the taxi companies which is taken into consideration while calculating fares. A complete comparison of estimated fares for different taxi companies available in West Lothian, UK  is also provided. The contact information to book any of these taxi companies and the fare breakup can also be accessed. Torphichen to falkirk West Lothian Taxi Fare along with the fare cards and a detailed route map is available.


text:
Q: Use Python dict to programmatically create Jupyter notebook with nbformat I am trying to create a Jupyter notebook with 3 markdown cells and 3 code cells in the following order
Markdown cell 1
import numpy as np
import pandas as pd

Markdown cell 2
project_id=53

Markdown cell 3
import mysql.connector

I am using this gist and the nbformat documentation, but I have wrapped the line nb['cells'] = [nbf.v4.new_markdown_cell(text), nbf.v4.new_code_cell(code)] inside a Python for loop.
Here is my code
import nbformat as nbf

d = {
"""Markdown cell 1""":
"""\
import numpy as np
import pandas as pd
""",
"""Markdown cell 2""":
"""\
project_id=53""",
"""Markdown cell 3""":
"""\
import mysql.connector"""
}

nb = nbf.v4.new_notebook()

for k, v in d.items():
    nb['cells'] = [nbf.v4.new_markdown_cell(k), nbf.v4.new_code_cell(v) ]

nbf.write(nb, "test.ipynb")

Problem
This creates the Jupyter notebook file. However, the notebook only contains the last Markdown cell (Markdown cell 3) and the last code cell (Code cell 3)

*

*here is the contents of the "test.ipynb" notebook that is created by the above script
Markdown cell 3
import mysql.connector

*here are the contents of the "test.ipynb" notebook that are missing
Markdown cell 1
import numpy as np
import pandas as pd

Markdown cell 2
project_id=53

I think the nb['cells'] command is overwriting the same cell repeatedly but I don't know how to work around this. After it creates the first cell, I do not know how to indicate that it should move to the next cell below.
Question
Is there a way to create multiple cells in a Jupyter notebook programmatically?
Versions

*

*python = 3.6

*jupyter notebook = 5.0.0

*nbformat==4.4.0

A: There are a couple issues here.
1) You are overwriting the cells list in each iteration of your loop.
2) A cell is either markdown or code, it isn't clear why you have this dictionary with keys that appear to be markdown and values that appear to be code.  Are you making 6 cells total or 3?
If you want six cells--the dict key followed by the dict value--try this:
nb['cells'] = []
for k, v in d.items():
    nb['cells'].extend([nbf.v4.new_markdown_cell(k), nbf.v4.new_code_cell(v) ])

This will add a markdown cell and a code cell in each iteration of the loop.
If you just want the code cells, then you can try this:
nb['cells'] = []
for v in d.values():
    nb['cells'].append(nbf.v4.new_code_cell(v))

redpajama_set_name: RedPajamaStackExchange