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Boston area AFC Urgent Care franchisee Dave Adams set up drive-thru COVID-19 testing stations, with some of his gowned and masked staffers shown here.
Dr. Bruce Irwin is CEO of the American Family Care chain, with 244 clinics.
AFC staffers put heart into caring for patients.
At My Eyelab, many eye exams are done remotely.
How American Family Care clinics stormed the COVID-19 field
Beth Ewen
Senior editor of Franchise Times
Author instagram
Jul 24, 2020 Updated Oct 12, 2020
On Friday the 13th in March, the day "everything broke loose" in the COVID-19 pandemic, Dr. Bruce Irwin and other American Family Care execs were having lunch with a major insurance company.
"They told us starting Monday, we're going to start paying full fare for a tele-visit, same as if they were in your office," recalled Irwin, who is CEO of AFC's chain of urgent care clinics and has the calming yet direct "bedside manner" of the medical doctor he is.
The team immediately dusted off AFC's TeleCare product, which allows for remote doctor-patient visits but had languished for lack of reimbursement and other problems, and within two weeks rolled out the system to every franchisee at no extra cost.
That was only one of several bold actions made at the Birmingham, Alabama-based chain, with roughly 64 corporate-owned and 180 franchised clinics. Also led by Chief Medical Officer Dr. Ben Barlow, a U.S. Air Force veteran, the chain known for nondescript clinics providing necessary but humdrum healthcare services propelled itself to a front-and-center position during the pandemic.
Two franchisees, in particular, helped to lead the charge.
From Marine Corps to AFC Operator
Before he was a franchisee for American Family Care in the Boston area, Dave Adams was an officer and mechanized infantry operator in the Marine Corps. Dr. Kristina Orio, medical director for his six AFC urgent care clinics, was a U.S. Air Force battlefield ER doctor deployed to Iraq.
The two paired up to quickly create a crisis plan that rolled out rapid testing for the COVID-19 virus in one of the pandemic's hardest-hit locales.
"When we invested in this we didn't sign up for pandemic warfare, but this is what's asked of us now and we're answering the call, just like so many," Adams said.
"We both ran training events and…checkpoint training and mass casualty drills. We've done this for years in our respective services," said Adams. "When this all unfolded in
March…we pulled out the playbook from our training. We were the first in Massachusetts to stand up large-scale drive-thru testing events."
An Eagle Scout as a youth, Adams says his service roots run deep. "I served my community in that capacity and I served my country as a Marine, and now I'm serving my country again," Adams said. "Both Dr. Orio and I have the philosophy of always being able to serve something greater than oneself."
In Portland, Oregon, the owner of five AFC Urgent Care clinics was rolling out innovations of his own. Guru Sankar was trying to relieve an overburdened hospital and ER system while at the same time keeping his clinics' doors open.
Among his innovations: Triage pods in the parking lots, where patients with COVID-19 symptoms were examined in isolation. Initial telemedicine exams for people who don't wish to come in. And testing for the virus for anyone who showed up, outside the clinic, with gloved and masked healthcare providers.
"The phrase I keep using here is we're trying to build an airplane while we're flying it," said Sankar, who began testing for COVID-19 in clinic parking lots in February and made the other moves thereafter.
The care providers in his clinics appreciated the changes, he said. "That has been one of the most uplifting things from all this. They have responded tremendously. They've appreciated how we've looked after their safety, and how we are constantly adapting an improving" ways to treat patients. "It's been a virtuous cycle," he said.
After all, he added, "We're a healthcare company and this is what we do."
New corporate customers
By June, back at headquarters, Irwin & Co. were busy rolling out their newest product line to a new group of customers: rapid testing for the novel coronavirus or its antibodies for employers.
"We're in the process of trademarking our AFC COVIDSafe Workplace, because we've been contacted by so many companies to do mass screening," Irwin said. "They're desperate" to get employees back, and they can "partially hang their hat on" a test for antibodies that show if a person had the virus and built up at least partial immunity.
Irwin said the offering is "doing quite well," but explained the efforts to reopen workplaces is fraught with confusion. "We have a saying in medicine: You have to treat the disease but you also have to treat the patient," which means "you have to treat their fears, their desires, their wants," not just the illness itself.
"Unfortunately, there certainly has been a lot of confusion…and misinformation about this whole pandemic, and a lot of it's still out there," he said. "What can be done realistically, and what is realistically effective is not the same thing."
AFC is tailoring the safe workplace offering to each customer, which range from large-scale government entities to mom-and-pop stores. For example, a major utility in Alabama wanted to do mass testing of employees and had already chosen a lab, "but they hadn't thought about needing locations where the tests could be done. They approached us as a place where their employees could come," Irwin said.
As states reopen and cases rise or fall, and as health experts warn of resurgence of the virus perhaps in the fall, Irwin and his chain of AFC clinics expect to continue providing care—and calming words—to play a key role in public health.
"In the end, a virus gotta do what a virus gotta do," Irwin said. "It is just a virus," although a scary one at this point because so little is known. "Fear is based on a lack of knowledge and the unknown," a situation that AFC clinics are doing their part to battle.
3 more healthcare franchises and their pivots
Fyzical Therapy & Balance Centers welcomed the big news in March, when CMS added 85 new telehealth services to the list now covered by Medicare and said the payment would be the same as in-person care. CMS stands for the Centers for Medicare & Medicaid Services. "Also, at that point the big insurance providers adopted the same protocol. I believe it's here to stay," said Brian Belmont, CEO of the 403-unit chain, about telemedicine.
Reimbursements for Fyzical's physical therapy services range widely by state and by insurance provider, he said, with Florida, for instance, paying about $83 per visit. Now the amount will be the same whether in-person or remote. "First and foremost, it was a way for us to provide care for our patients that needed it that didn't feel safe leaving their home," he said about telehealth. "Leaving the commerce side aside, our owners are extremely altruistic. They're caregivers by nature, and this gave us a method to provide care."
My Eyelab, which provides eye exams using remote refractionists and doctors and also sells glasses and contact lenses, didn't have to make radical adjustments. "We've been running telemedicine examinations for four years, so it's nothing new to us," said Dr. Brad Brocwell, VP of clinical operations. "During the whole COVID situation, this allowed us to still, where other competitors in the industry were closing their doors, we were able to provide essential examinations to the patients that still had needs."
My Eyelab has 181 units, with roughly 32 of those franchises. Brocwell expects a "positive impact" long term for the idea. "It raised awareness as far as telemedicine is concerned. Especially in the optical industry it's relatively new," he said. Some states have laws forbidding telemedicine, and those that changed those laws during the state of emergency may now recognize its value. .
"We, like everybody else, were just gobsmacked by COVID-19 and how do you respond to it. It really turned the entire company around," said Peter Holt, CEO of The Joint Chiropractic. "One of the first things we had to address was, are we in fact an essential healthcare service? And so we worked closely with the chiropractors' association and came out with a statement" that "we will stay open whenever we can. Virtually our entire network stayed open; we were down about 10 percent," he said.
The Joint has about 550 clinics and at one point the chain had 60 of those closed. Management did not require franchisees to stay open, but they did so in droves. "What was humbling and gratifying to me, 90 percent of our network stayed open," he said. In April, 60 percent of patients continued to come into the clinics, he said. The biggest fall-off was with new patients. In response, The Joint ran a campaign in June aimed at all the people working from home, perhaps slumping on their sofa or draped over the bed. It offered free adjustments to new patients, supported by TV, YouTube and online ads. "People are so attracted to that couch, and that couch is a spine killer," Holt said about the effort. "It's truly trying to help a nation in pain."
Dr. Bruce Irwin
American Family Care
Franchise Times August 2020
Well-versed in legal and public policy issues, Beth is quick to dissect a lawsuit or court ruling, and her M&A expertise yields fascinating content for FT's Dealmakers program.
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Ziebart franchisees find success with family business
Along with his four kids, Tony Mattiacio operates six Ziebart auto detailing shops, having turned an after-school job into a successful business. Dividing roles to match skillsets is one lesson learned, along with the kids working their way up to build credibility.
Former Five Guys franchisees sign deal for Taffer's Tavern
With sous vide cooking used for its food preparation, eliminating the need for typical restaurant kitchen prep and venting equipment, Taffer's Tavern is attracting franchisees to multi-unit deals, the latest being Marc Magerman and Peter Weber, who signed on to bring five locations to the Boston area.
COVID-19 forces young casual dining concepts to take a detour
The COVID-19 pandemic is changing consumer behavior and the economics of restaurant operations, which in turn is forcing a new breed of casual dining brands to adjust just as they got up to speed.
Hit hard, breakfast brands hope experience is irreplaceable
When COVID-19 hit and dining rooms were shut down, breakfast and brunch brand Another Broken Egg Cafe struggled with how to stay open and keep staff employed. Morning meal customer transactions have suffered the steepest declines during the pandemic, reported The NPD Group, with those transactions falling by 18 percent at major restaurant chains in June.
A well-timed lunch with an insurance company. A quick dash to launch telemedicine. A new service for employers eager to safeguard their workplaces. Plus, two franchisees making their own bold moves. How American Family Care moved to the front lines in the pandemic.
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redpajama_set_name: RedPajamaCommonCrawl


Playing guitar is not just about the guitar. It's about much, much more. Think of picks, straps, cables, capo's, bags and cases, strings, upgrading hardware, guitar stands and so on. That is what we call accessories & parts, and we at Max Guitar can offer you almost anything you could think of. And they are important. For instance, a high quality cable can certainly improve your amplified sound, both acoustic and electric.


text:
package edu.osu.cse.groenkeb.logic.model

import edu.osu.cse.groenkeb.logic._
import edu.osu.cse.groenkeb.logic.model.rules.AndFalsification
import edu.osu.cse.groenkeb.logic.model.rules.AndVerification
import edu.osu.cse.groenkeb.logic.model.rules.ConditionalFalsification
import edu.osu.cse.groenkeb.logic.model.rules.ConditionalVerification
import edu.osu.cse.groenkeb.logic.model.rules.ExistentialFalsification
import edu.osu.cse.groenkeb.logic.model.rules.ExistentialVerification
import edu.osu.cse.groenkeb.logic.model.rules.ModelRule
import edu.osu.cse.groenkeb.logic.model.rules.NegationFalsification
import edu.osu.cse.groenkeb.logic.model.rules.NegationVerification
import edu.osu.cse.groenkeb.logic.model.rules.OrFalsification
import edu.osu.cse.groenkeb.logic.model.rules.OrVerification
import edu.osu.cse.groenkeb.logic.model.rules.UniversalFalsification
import edu.osu.cse.groenkeb.logic.model.rules.UniversalVerification
import edu.osu.cse.groenkeb.logic.parse.ParserException
import edu.osu.cse.groenkeb.logic.proof.rules.RuleSet

case class FirstOrderModel(val diagram: AtomicDiagram) extends Model {
  def domain = diagram.domain
  def withDomain(domain: Domain) = FirstOrderModel(AtomicDiagram(domain.merge(this.domain), diagram.relations:_*))
  def verify(sentence: Sentence): Boolean = sentence match {
    case AtomicSentence(atom) => diagram.has(atom.toRelation)
    case UnarySentence(operand, conn) => conn.evaluate(verify, operand)
    case BinarySentence(left, right, conn) => conn.evaluate(verify, left, right)
    case QuantifiedSentence(operand, quantifier) => quantifier.evaluate(diagram.domain, verify, operand)
    case Absurdity => false
    case NullSentence() => false
  }
  def rules: RuleSet = RuleSet(Seq(ModelRule(this),
                          NegationVerification(), NegationFalsification(),
                          AndVerification(), AndFalsification(),
                          OrVerification(), OrFalsification(),
                          ConditionalVerification(), ConditionalFalsification(),
                          UniversalVerification(domain), UniversalFalsification(domain),
                          ExistentialVerification(domain), ExistentialFalsification(domain)))
}

object FirstOrderModel {
  def apply(sentences: Sentence*) = from(sentences:_*)
  def from(sentences: Sentence*): FirstOrderModel = new FirstOrderModel(diagram(sentences:_*))
  def empty = from()

//  private def extract(sentences: Sentence*): Domain = sentences.toList match {
//    case Nil => Domain()
//    case AtomicSentence(atom) :: rem => Domain(atom.terms:_*) ++ extract(rem:_*)
//    case sentence :: rem => extract(sentence.decompose():_*) ++ extract(rem:_*)
//  }

  private def diagram(sentences: Sentence*): AtomicDiagram = sentences.toList match {
    case Nil => AtomicDiagram(Domain())
    case AtomicSentence(atom) :: rem => AtomicDiagram(Domain(atom.terms.toSet), atom.toRelation) ++ diagram(rem:_*)
    case _ => throw ParserException("found non-atomic sentence in model declaration")
    //case sentence :: rem => diagram(domain, sentence.decompose():_*) ++ diagram(domain, rem:_*)
  }
}

redpajama_set_name: RedPajamaGithub


SWBAT find the volume of various rectangular prisms using the volume formula and cubes.
Students build a conceptual understanding of volume by using cubes to support their thinking.
As a warm-up for today's lesson, students work in groups to build more rectangular prisms. They roll 2 dice, multiply the numbers and find a volume. Using this volume, they create as many rectangular prisms as they can.
Some groups of students struggled with building a prism when given a set volume. They were ok with making a flat rectangle ex: 15 x 2 x 1 to make a prism with a volume of 30. When prompted to make these prisms "taller" without changing the volume, some students struggled. They debated with in their groups because some students wanted to take more cubes to add a second row, and others recognized that this would change the total number of cubes. I found it interesting to allow students to struggle with these mathematical arguments and to listen to their discussion. If needed, I stepped in to adjust their thinking by adding 3 rows high and asking if they could make a prism that had 30 cubes and was 3 inches high.
I use a video as a bridge between the lesson and the warm-up section because it is helpful for students to learn using a variety of modalities. This video is an example of the type of videos I use to enhance my instruction.
Also, learning from a variety of resource types helps students develop the ability to think flexibly about a concept.
For the guided practice portion of today's lesson, I work with students to consider the size of different cubic units. What cubic unit would be an appropriate choice for measuring the volume of our salmon tank? A swimming pool?
I want the students to understand that cubic units, like all units of measurement, are different sizes and the most appropriate unit should be used.
I show an image of an empty pool, an empty fish tank, and an empty tissue box. We talk about these rectangular prism "containers" that can hold various things (water, tissues, etc). The space within these containers is the volume.
This discussion lends itself to talking about liquid capacity too. We talk briefly about the various ways to measure volume, but I keep the class focused on determining the most appropriate unit of measurement for the volume of each prism.
Before students move on to solving more solving more problems, students participate in another "rectangular prism" Vocabulary review. Constantly reviewing these terms helps students build them into their daily language.
As with yesterday, I encourage students to ask questions and lead the discussion. As students learn more about volume their questions become more interesting, complex, and engaging. It is important to allow students to have opportunities to express their curiosity. In the reflection for this section I share some of the student's questions from the lesson.
Students continue to solve problems involving the volume of various rectangular prisms. A conceptual understanding is developed through building prisms to match pictures.
After groups have had a change to work with the fifth problem (the base of the rectangle is give, rather then the 3 dimensions) , I regroup the students to discuss this example. This is an example of demonstrating the importance of having the math and the model match. Because this example shows the area of the base, not the dimensions of the base, this problem is more challenging for the students to make sense of what the model is showing.
• The base is 16 square yards. It can be shown as 16 x 1, 4 x4, or 2 x 8. When building the model, it should match the image.
• 16 square yards and 16 squared. What is the difference between these two?
• When we build prisms, we just use cubic units. The picture says that it is 2 yds high, but not 2 cubic yards high. This is because they are measuring the side of the cubes.
Students create the dimensions of a rectangular prism, then use that to determine the volume. Then, they answer the two questions that are posted on the board.
I ask students to create the dimensions themselves so they can make the numbers appropriate for their own level. Students who are advanced are motivated to challenge themselves by using larger numbers, and those who rely on drawing or building will choose numbers that are more reasonable for this approach. Prompting is used to help all students make the best choice from themselves.
Group share will allow students to see that images are helpful, but the labeled dimensions are essential.


We gave the GUI Builder a face-lift. You're going to like what you see.
In this blog post I will be focusing on the low-level details of "how it works" so that you can understand how to best tune it to your liking. We will be producing additional demos, posts, and documentation that cover these changes from a higher-level perspective.
If you've used Codename One at all, you're likely aware of its heavy usage of layout managers for positioning components on the screen. You don't just place a button on the screen at a particular size and position. You would, instead, add the button to a container and have the container's layout manager calculate the correct position for the button. If you wanted your components to be laid out across the screen and then wrap when it runs out of room, you would use FlowLayout. If you wanted to tile your buttons in a grid, you might use GridLayout. If you want to layout the buttons vertically down the page you would use a box layout Y. Etc.. In general, it is possible to reproduce any design from a PSD file by nesting components with the classical layout managers.
Why Can't We Just Place A Component at some (x,y) Coordinate?
Shai has written about this many times in the past. The long and short of it is that when your app is shown on a screen with different resolution or dimensions, the app may need to reposition the element. You need a layout manager that is able to dynamically calculate the appropriate position for your components based on the current state.
Unfortunately, this explanation provides little consolation to new users who just want to drag a button onto the form where they want it, and run their app. To expect new users to understand layout managers before they can build their "Hello World" app is, perhaps, a little demanding.
One key goal for this iteration of the designer was to make it more accessible to new users. I want a user to be able to drag labels, buttons, text fields, etc.. from the palette onto the form and position them freely, exactly how they like. I didn't want them to have to worry about layout managers and the like. Just drag widgets around, and then run the app.
But Didn't I Just Say that Absolute Positioning isn't Practical?
Indeed absolute positioning in a mobile application is not practical. Our solution is "relative" positioning. We have beefed up the layered layout manager to support insets and inter-component references, and we have added the ability to manipulate the layout using familiar drag-and-drop GUI designer controls.
For example, if you drag a button down to the bottom corner of the form, the designer doesn't save the absolute X,Y coordinate for the button. If saves the insets (distance) from that bottom corner. That way, at runtime, the button will always be rendered appropriately in the bottom corner no matter what the device dimensions are.
Going a step further, if you then drag a text field just to the left of the button, the designer will record the text field's insets relative to the button so that it will lay out properly still even as the device is resized.
The designer only automatically links the text field's position to the button if "Smart Insets" is enabled. With "Smart Insets" disabled, you would need to link it explicitly.
The example with only two components may seem contrived, but we have worked hard to ensure that it can scale to arbitrary UI complexity with dozens of components positioned exactly the way you want.
Before we go into the designer's UI, let's take a moment to look at the new and improved Layered Layout manager, upon which all of this goodness rests.
Pre-3.7, LayeredLayout simply laid out containers on top of each other in layers. It didn't allow you to position the child components, except via margins and padding.
In this release, we have kept the default behaviour the same, but have added support for constraints that add insets to child components. Here is a simple example that adds a button to the bottom, right corner of a container.
This is called after btn has already been added to the container. It says that we want its insets to be "auto" on the top and left, and 0 on the right and bottom. This insets string follows the CSS notation of top right bottom left (i.e. start on top and go clockwise), and the values of each inset may be provided in pixels (px), millimetres (mm), percent (%), or the special "auto" value. Like CSS, you can also specify the insets using a 1, 2, or 3 values. E.g.
"1mm" - Sets 1mm insets on all sides.
"1mm 2mm" - Sets 1mm insets on top and bottom; 2mm on left and right.
"1mm 10% 2mm" - Sets 1mm on top, 10% on left and right, and 2mm on bottom.
"1mm 2mm 1px 50%" - Sets 1mm on top, 2mm on right, 1px on bottom, and 50% on left.
The special "auto" inset indicates that it is a flexible inset. If all insets are set to "auto", then the component will be centered both horizontally and vertically inside its "bounding box".
The "inset bounding box" is the containing box from which a component's insets are measured. If the component's insets are not linked to any other components, then its inset bounding box will be bounds of the component's parent container.
Percent (%) insets are calculated with respect to the inset bounding box. A 50% inset is measured as 50% of the length of the bounding box on the inset's axis. E.g. A 50% inset on top would be 50% of the height of the inset bounding box. A 50% inset on the right would be 50% of the width of the inset bounding box.
The calculatedInsetXXX values here will be the same as the corresponding provided inset if the inset has no reference component. If it does have a reference component, then the calculated inset will depend on the position of the reference component.
If no inset is specified, then it is assumed to be 0. This ensures compatibility with designs that were created before layered layout supported insets.
If all you need to do is position a component relative to its parent container's bounds, then mere insets provide you with sufficient vocabulary to achieve this. But most UIs are more complex than this and require another concept: reference components. In many cases you will want to position a component relative to another child of the same container. This is also supported.
1 Sets the left inset on btn to 0.
2 Links btn's left inset to `tf so that it is measured from the text field. The third parameter (1.0) is the reference position. This will generally either be 0 (meaning the reference point is the left edge of the text field), or 1 (meaning the reference point is the right edge of the text field). In this case we set a reference position of 1.0 because we want the button to be aligned to the text field's right edge.
The reference position is defined as the distance, expressed as a fraction of the reference component's length on the inset's axis, between the reference component's leading (outer) edge and the point from which the inset is measured. A reference position of 0 means that the inset is measured from the leading edge of the reference component. A value of 1.0 means that the inset is measured from the trailing edge of the reference component. A value of 0.5 means that the inset is measured from the center of the reference component. Etc… Any floating point value can be used. The designer currently only makes use of 0 and 1.
referencePosition == 0 ⇒ the inset is measured from the top edge of the reference component.
referencePosition == 1 ⇒ the inset is measured from the bottom edge of the reference component.
referencePosition == 0 ⇒ the inset is measured from the bottom edge of the reference component.
referencePosition == 1 ⇒ the inset is measured from the top edge of the reference component.
referencePosition == 0 ⇒ the inset is measured from the left edge of the reference component.
referencePosition == 1 ⇒ the inset is measured from the right edge of the reference component.
referencePosition == 0 ⇒ the inset is measured from the right edge of the reference component.
referencePosition == 1 ⇒ the inset is measured from the left edge of the reference component.
Now that you understand the basics of insets and reference components, let's delve into the UI that we've designed to leverage this layout. The new GUI Builder includes a new designer that makes it a breeze to layout UIs. It allows you to drag components from the component palette onto the canvas just as you did before. The difference is that now you can move and resize your components exactly as you see fit. You aren't constrained to the positions dictated by the form's layout manager.
As an example, let's drag a button onto a blank form and see what happens. The button will be "selected" initially after adding, it so you'll see its outline, and resize handles for adjusting its size and position. You'll also see four floating labels (above, below, to the left, and to the right) that show the corresponding side's inset values and allow you to adjust them.
Press the mouse inside the bounds of the button and drag it around to reposition it. You will notice that the inset labels change to reflect the new inset values. If you drag the button close to the edge of the form, the corresponding inset value will change to millimetres. If you move farther away from the edge, it will change to percentage values.
Let's take a closer look at the inset control (the inset controls are the black buttons that appear to the top, bottom, left, and right of the selected component).
The inset value drop-down menu. This shows the current value of the inset (e.g. 0mm, 25%, auto, etc…). If you click on this, it will open a menu that will allow you to change the units. If the inset is currently in millimetres, it will have options for pixels, and percent. If the inset is in percent, it will have options for pixels and millimetres. Etc.. It also includes a text field to enter a an inset value explicitly.
The "Link" Button - If the inset is linked to a reference component, then this button will be highlighted "blue", and hovering over it will highlight the reference component in the UI so that you can clearly see which component it is linked to. Clicking on this button will open a dialog that will allow you to "break" this link. You can drag this button over any component in the form to "link".
The "Lock" Button" - This button allows you to toggle the inset between "flexible" (i.e. auto) and "fixed" (i.e. millimetres or percent).
Notice the "auto-snap" checkbox that appears in the top-right corner of the designer.
Auto-snap does exactly what it sounds like: It automatically snaps two components together when you drag them near each other. This is handy for linking components together without having to explicitly link them (using the "link" button). This feature is turned on by default. If auto-snap is turned off, you can still initiate a "snap" by holding down the ALT/Option key on your keyboard during the drag.
Beside the "auto-snap" checkbox is another checkbox named "Smart Insets".
Smart Insets is an experimental feature at this point. It uses some heuristics during a drag to try to determine how the insets should be linked. Currently the heuristics are quite basic (it tries to link to the nearest neighbour component in most cases), but we will be working on improving this for future releases. This feature is turned off by default while it is still being refined. The goal is to improve this to the point where it always makes the correct link choices - at which time you will be able to use the designer without having any knowledge of insets or reference components. It will just work. In the current version, I generally work with auto-snap "on", and explicitly assign links myself using the "link" button. This gives me full control of my UI and how it will be resized. Once you get used to insets and how the links work, it becomes quite easy.
When a component is selected, you should see a black floating panel appear in the lower right of the screen.
This is the widget control pad, and it provides an alternative view of the component's links. It also provides a useful list of incoming links (i.e. components that "depend on" this component's positioning). In some cases, you may want to disconnect incoming links so that you can drag the component without affecting the position of dependent components.
This control pad also includes game-pad-like controls (up, down, left, right), that allow you to "tab" the component to the next guide in that direction. Tab positions exist at component edges in the form. This is useful for aligning components with each other.
Arrow Keys - Use the up/down/left/right arrow keys to nudge the currently selected component a little bit at a time. This is a convenient way to move the component to a position that is more precise than can easily be achieved with a mouse drag.
Arrow Keys + SHIFT - Hold down the SHIFT key while pressing an arrow key and it will "tab" the component to the next tab marker. The form has implicit tab markers at the edge of each component on the form.
ALT/Option Key + Click or Drag - Holding down the option/alt key while clicking or dragging a component will resulting in "snapping" behaviour even if auto-snap is turned off.
In some cases, you may need to add sub-containers to your form to aid in grouping your components together. You can drag a container onto your form using the "Container" palette item (under "Core Components"). The default layout the subcontainer will be LayeredLayout so that you are able to position components within the sub-container with precision, just like on the root container.
You can also change the layout of subcontainers to another classical layout manager (e.g. grid layout, box layout, etc..) and drag components directly into it just as you did with the old designer. This is very useful if parts of your form lend themselves. As an example, let's drag a container onto the canvas that uses BoxLayout Y. (You can find this under the "Containers" section of the component palette).
Drag the button (that was previously on the form) over that container, and you should see a drop-zone become highlighted.
You can drop the button directly there. You can As you drag more components into the sub-container, you'll see them automatically laid out vertically.
When designing a UI with the new designer it is very important that you periodically test the form's "resizing" behaviour so that you know how it will behave on different devices. Components may appear to be positioned correctly when the canvas is one size, but become out of whack when the container is resized. After nearly every manipulation you perform, it is good practice to drag the canvas resize tool (the button in the lower right corner of the designer) smaller and bigger so you can see how the positions are changed. If things grow out of whack, you may need to toggle an inset between fixed and auto, or add a link between some of the components so that the resizing behaviour matches your expectations.
This GUI builder release represents the first step in a new direction. We have our own internal todo list for moving the GUI builder forward - things like improvements to Smart Insets, better styles integration, support for more component types, and better UI tools for manipulating component properties. But we'd like to hear your feedback. What are your pain points? What do you want to do with the GUI builder that you currently find difficult? Please let us know in the comments.


Monday 18th .Both have been integral to the Hurricanes' success the present, and Lethbridge also has and youngster Blocker playing roles its lineup from that deal, with two or three more prospects to come – through first- and third-round picks the 2020 bantam draft, and potentially a second-round pick 2021.You said you didn't have answer time on the challenge?I don't have anything to rush into right now.Zappos support feature multi-platform marketing, including activation which Zappos is seeking to set the world record for Most World Records Set During a Road Race.The game appeared to swing Wakefield's way on 24 minutes when Arundel was sent to the sin bin for persistent infringing by the Tigers and the Wildcats immediately made the extra man count, with second rower Ferguson taking Obst's pass to crash over for a second try.
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Facebook led the 2012 BrandZ™ Top 100 Most Valuable Global Brands in brand value appreciation, a status it also claimed in the 2011 ranking.
With a 74 percent increase in value, Facebook ranked Number 19 this year. It first appeared in the ranking in 2010. Burberry, Hermès, Starbucks and IKEA also appeared in the Top Risers ranking for the second consecutive year. The rate of brand value growth increased for Hermès and remained even for Starbucks and IKEA. For Burberry and Facebook brand value grew at a strong but slower pace than last year. Overall, the 2012 Top 20 Risers grew just 35 percent in value compared with 63 percent a year ago.
Only one BRIC market brand—Russia's Sberbank—made the 2012 Top 20 Risers compared with three BRIC brands last year. Facebook was the only technology brand compared with five technology Top Risers last year when technology was the most represented category. Apparel was this year's most represented category, with five brands.
Strong performance in most markets, and sales growth from both new and existing stores, drove the brand value increases of Ralph Lauren and Hugo Boss. With their focus on fast and affordable fashion, UNIQLO and Zara were well positioned as consumers sought value. Value also explained the presence of the fast food brands Domino's Pizza, Tim Hortons and Starbucks in the Top Risers ranking.
But value was not the entire story, especially for Starbucks, which celebrated its 40th anniversary by refreshing the brand with a revised logo that both affirmed the brand's coffee roots and widened its focus. The Top Riser luxury brands also reflected value and quality, but at quite a different price point than a cup of coffee. Both Hermès and Rolex reinforced their elite status, while Burberry's in-store and online marketing innovations made the brand more accessible to a new generation.
For Home Depot and IKEA, the rise in brand value reflected both the strengthening of the housing market and operational improvements implemented during the recession. In the financial category, the strong brand performance of Visa and MasterCard suggested that customers sustained trust in these brands despite a low opinion of banks, with exceptions such as Sberbank, the Russian bank in the process of transforming from a Soviet-style institution to a consumerfacing brand.
In personal care, Dove and Clinique benefited from overall brand strength and growth in BRIC markets. Audi's brand value increased for similar reasons, as customers chose high quality at a lower price relative to the competition. Sales in China remained strong, in part because Audi is a brand of choice for fleets of official Chinese government cars.
The Top 10 brands in the BrandZ™ Top 100 Most Valuable Global Brands added almost $500 billion in value over the past six years. Some of the growth, but not all, reflects the remarkable rise of leading technology brands. The larger lesson is that strong brands continue to grow in value. Although the bottom 10 brands of the BrandZ™ Top 100 did not increase as much value in absolute terms, they doubled in value.


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SCHOOLS MUST PREPARE YOUNGSTERS FOR THE FIGHT FOR JOBS - SQUIRE
Schools minister Robin Squire today spelled out the challenge to Britain's education system - to help youngsters co...
Schools minister Robin Squire today spelled out the challenge to Britain's education system - to help youngsters compete for jobs with the best and brightest in the world.
Speaking at the Recruitment '95 Conference in London, Mr Squire said Britain faced a world of technological change.
He said our competitors were not only countries with low wage economies but increasingly ones whose workforces' education and skills were rising fast.
'If Britain is to compete in the world as it now is, we must face the reality of competition. In a competitive world, there is one way and one way only to guarantee job security. That is to create enterprises in Britain which can take on the best competition in the world, and beat it.
'To achieve this, people must have the skills and the knowledge to do so. In tomorrow's world, industrial and commercial success will be based on knowledge, design and innovation. And on the spirit of enterprise needed to put ideas into the market place.
'For the first time, the knowledge and skills of those joining the workforce are improving:
- 15 years ago less than a quarter (23%) of our young people got 5 good GCSEs [equivalent] or better. Now it is over 40% (43%)
- the number of young people gaining 2 FCE A levels had doubled to 28% since 1979
- and Britain now graduates more of its young people than just about any country in Europe
'Bringing Education and Employment together in a single department means better co-ordination of key policies to drive up skill levels and promote business success. That is why it is such an important step forward.
'We can encourage closer links between education and the business world, so that young people are well prepared for the world of work. We can promote greater coherence between academic and vocational qualifications to increase choice, standards and achievement.
'We can encourage even closer relationships between education and training providers such a further education colleges and TECS. And we can make a concerted effort to promote lifetime learning so that individuals are equipped to face the changes needed in a fast moving economy.
'Vacancies notified to Jobcentres are at record levels, over 200,000 a month indicating that with those notified to private agencies and newspapers, perhaps seven million or more jobs are now becoming vacant each year. I am also a firm supporter of the private recruitment industry. I see the private agencies and the Jobcentres not as rivals but as complementary to each other. To me what is surprising is not that Jobcentres and private agencies are now working together, but that Britain is the only country in the world where this happens.'
PM to pledge funding for suicide prevention plans
17 June 2019Jon Bunn
Councils will receive extra funding to strengthen suicide prevention plans, under a range of measures to be announced today by prime minister Theresa May aimed at improving support before mental illness becomes critical.
ADCS president: no deprivation in funding formula increases child risk
7 June 2019Jon Bunn
Reducing the importance of deprivation in the funding formula for council services will hamper the fight against poverty and could make children more vulnerable to abuse and neglect, the new president of the Association of Directors of Children's Services has warned.
CCN candidates clash on reorganisation
21 June 2019Mark Smulian
The two contenders for leadership of the County Councils Network (CCN) have set out radically different views on reorganisation.
Jamieson calls for Devolution Bill in next Queen's speech
2 July 2019Sarah Calkin, Jon Bunn
Local government must be given new "powers, freedoms, flexibilities and funding" to deal with widespread challenges as Whitehall is focused on Brexit, the new chair of the Local Government Association has said.
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Basic Information On M.G.'s First T Series Midget.
In June of 1936 The Motor ran an article announcing a new M.G. "Series T" Midget replacing the much loved P Types. And by early in 1939, when the last of this Series rolled off the line, The M.G. Car Company Ltd. of Abingdon, England had produced 3003 TAs. There were two roadster type body styles produced during the run. The earlier version carried a wider gasoline (petrol) tank and had narrower rear fenders (wings) than the later model. The later models also changed from outer laced to center laced spoke wire wheels. Two other body types were produced in very small numbers, an Airline Coupe and a popular Tickford Drophead Coupe by Salmons and Sons. The MPJG engine used in the TA was derived from the Morris 10 push-rod engines that were currently in use by the parent company, the Nuffield Group. Top speed was in the neighborhood of 80 mph. The TA was the first of the Midgets to use hydraulic brakes.
We're told that many of the marque's die-hard followers of that era had a difficult time accepting the push-rod engined M.G.s over the previous overhead cam engines. The 'cammys' were faster revving engines than the push-rod MPJG. And the P Types, which preceded them, had reached their maximum BHP at 5,500 RPM. But the TA had terrific torque and was soon holding its own in Trials, Hill Climbs and sporting events of the day. The Type TB was announced in 1939 using a new engine, designated the XPAG. More suited to tuning, this higher revving engine would replace the long stroked MPJG. The TB is essentially a TA body/chassis but powered by the new XPAG engine. Just under 400 TBs were finished before WWII interrupted production.
The two photos above were factory T Series prototypes.
When first introduced to the public the TA was known simply as the T Type M.G. Only after the XPAG engine was fitted into the T Type chassis, creating the TB, did the title "TA" come into being.
Although these colors were standard it is possible that they could have been ordered custom just as the paintwork to the body is said to have been. Wheels on all models were in silver cellulose.
A more concise history of the TA, various other T Types, and the M.G. Car Company can be found in many books or on the Internet.
and Miles Per Hour for Revs Per Thousand.
Valve Timing for the MPJG.
The diagrams above are from Philip H. Smith's book Tuning and Maintenance of M.G.s.
This page of Service Data is from The M.G. Workshop Manual by W.E. Blower.
TAs are often mistaken for TCs and rightly so for both are almost identical in size and appearance. The basic design for the T Series cars came from the 1933 Swept Wing J2 and carried through to the P Types. The Ps were slightly larger than the Js but smaller than the TA. TC production outnumbered the TA well over three to one and soon after the end of WWII, thanks to 'Export or Die', new M.G.s were finding their way into the States by the hundreds.
A quick glance at the number of running board strips will often tell the difference between the TA and TC. The TA has three strips where the TC has two. Another distinguishing difference would be noting how the rear springs attach to the rear of the chassis. The TA (and TB) used sliding trunnions at the rear of their springs for suspension where the TCs were attached with shackles. Also an easy-to-spot feature is the Fuel Reserve knob on the dash, to the right of the tachometer. The TA/TB has two fuel lines leading from the tank - One Main and one Reserve. These lines terminate at a petcock mounted to the tool box inside the engine compartment which is controlled by the knob on the dash.
Another easily visible difference between TA and TC is the front shocks. The TA uses round disk-looking hydraulic shocks with an arm coming from the center where the TC shock looks like a horizontal iron cylinder with an arm coming from its center. The shock absorber test is not always reliable in telling them apart however, as several TAs have been converted to TC shocks. And both TA and TB Types (as well as TCs) are sometimes seen fitted out with modern vertical tube type shockers.
Once the hood (bonnet) is opened however, the differences between the TA and TC become quite clear. At first glance the MPJG TA engine looks to be a bit taller and narrower. The water pump extends further forward and is mounted to the head where the XPAG TB/TC pump mounts into the block just beneath the head. The air cleaners are mounted differently and the carburettors on most of the TA models were bronze bodied SU rather than the aluminum look of those used on the TB/TC. And the oil filter of the TA is not as large in diameter as that on the TC.
Using these guidelines one should be able to identify an original MPJG-engined TA rather easily. Distinguishing a TA from a TB can get a little tricky considering that several TAs now sport XPAG engines! Here I'd resort to looking at maker's plate located on the passenger's side of the tool box. Definitive identification of all T-ABC car's 'VIN' or Chassis Number- will be found on the outside of the left front dumb iron. As; TA0256, TC10000, etc.


Just thought I'd let you know, I'm having some trouble logging in on the Terrafirmacraft server at the moment. Login freezes for about 20 seconds, then gives me an "End of stream" message.
I'm not sure if it's just me as there was still someone logged in.
Quite a few people are having this problem at the moment, its happening with the AMP server aswell.
So I think its the Mojang side, not client-side.
Looks like it might be on my end as I'm getting the same thing on another server I tried to log in at and there are now 2 people logged in. Probably something with multimc. Sorry to have bothered anyone!


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You are here: Home / News / Blockchain / BeFaster Continues its climb as The BitcoinMan Comes on Board to Boost Global Adoption
BeFaster Continues its climb as The BitcoinMan Comes on Board to Boost Global Adoption
April 4, 2020 by Akash Anand
BeFaster has become a name synonymous with updates and developments in the cryptocurrency field. This sentiment arises from a belief held by the BeFaster team: do not stop until the virtual asset industry becomes indistinguishable from fiat. To ensure that the application continues on its upward trajectory, BeFaster has decided to bring on a highly influential cryptocurrency personality.
Just recently, BeFaster announced that Herbert Sim, more commonly known as 'The Bitcoin Man' had joined its fold as an investor and advisor. Mr.Sim will lend his expertise and help to the BeFaster team for its upcoming Maltese blockchain project.
BeFaster is a fitness application that works on the Tron blockchain. What stands out for users the most is the ability for them to earn cryptocurrencies while they use the application and work out. The arrival of Bitcoin Man into the BeFaster ecosystem was appreciated on social media as many saw his penchant for the application. Mr. Sim became popular for his marketing skills in the cryptocurrency space as well as holding the post of Global Operations Director at Huobi.
The Bitcoin Man praised BeFaster's initiative to utilize blockchain technology and find a use case that benefits society. BeFaster's tag-line reads "Be Fit. Be Fast. Get Paid", three steps that do not sound complicated at all. The application's ingenuity lies in the fact that users are able to draw the power of blockchain technology by using it like any other application out there.
BeFaster connects users who are interested in sport and health with those who want to become one with BePartners. They can then divulge into the world of health & care, sport and wellness.
The company's officials make it clear that the mission with their project is to blur the line between crypto products and others. Maximilian Jurtz, the Chief Financial Officer [CFO] of BeFaster told Tron Weekly that they want to compete with fitness products across all industries and not just within the digital assets world.
The BeFaster team, which includes Irina Manilitsch, CEO and Frank Schulze, CTO were confident that Herbert Sim's experience would 'fuel' the application to run faster.
The Bitcoin Man, on his part, said:
"This [BeFaster's] unique 'RUN for CASH' system, couple with a passionate driven team of co-founders, will create a revolution across the world, especially with health enthusiasts, and to promote healthy living and lifestyle.The app's use of blockchain technology is a great example for businesses to emulate – transparency, without compromising on privacy. And the digital currency use-case is also plentiful, to participation in public and private challenges, to e-Commerce, and even in-app games to be launched after."
Herbert Sim will be tasked with handling the marketing aspects of the ongoing BeFaster private sale as well as its associated worldwide marketing. The BeFaster officials will be banking on Sim's ability to target the required audience and bring them towards the product.
The BitcoinMan's influence in the cryptocurrency field can also be connected to him establishing the Crypto Chain University [CCU]. The CCU is the world's first repository that will benefit people who want to create blockchain or cryptocurrency research papers.
BeFaster also has its own holder coin that will allow users to reap almost 50 percent of all profits. Anyone who has invested in the BeInvestor project will also be eligible to receive BeFasterHolderToken [BFCH]. The company has reiterated several times that since all processes occur on the blockchain, settlement times were drastically reduced.
Filed Under: Blockchain, News Tagged With: BeFaster, TRON (TRX)


A deal was struck for two buildings within the Huntington Beach Medical Campus in California, with the help of NAI Capital. Executive Vice President of NAI Capital, Tom Nguyen, acted on behalf of KO's HB Medical Building Inc. in the sale of their properties to Blue Sky HB, LLC, who bought the medical buildings for a price tag of $7.8M.
The sale involves two medical buildings, with a combined square footage of over 48,000, and one parking garage covering 1.8 acres of land. Although the two buildings, which sit at the entrance of the Huntington Beach Medical Campus, are in poor condition, the buyer has plans to renovate their purchase. Other medical facilities located within the campus include Huntington Beach Diagnostic Imaging & Breast Center, Hunting Beach Hospital and Huntington Professional Tower & Pharmacy. Occupants within the campus also include some pediatric practices and Quest Diagnostics.
Tom Nguyen considered the location of the Huntington Beach Medical Campus, combined with the sufficient parking situation, as an excellent opportunity. He believes the location is superb given that Beach Boulevard, otherwise known as Highway 39, is adjacent to the facility. A combination of factors such as a high average household income, a large population within a 5 mile radius and a large amount of traffic in the area all add to the value of the location.
Southern California commercial real estate leader, NAI Capital, is an NAI Global network member. NAI Global has over 375 offices worldwide and over 6,700 local market leaders. NAI Global's strength lies in the sharing of resources and tools between their members, so each member company can excel in their local markets. NAI Global is owned by C-III Capital Partners, LLC and was acquired in 2012 under management of CEO Andrew Farkas.


KALEIDOS VINTAGE is an edited collection of hand-picked vintage finds that can easily be translated into the modern wardrobe. We love discovering a piece that has lived a previous story and reimagining it into something fresh and modern for you to wear today. Please keep in mind that vintage items are pre-loved from an era at least 20 years prior to our current date. We do our best to thoroughly inspect each item to ensure they are in great condition, and will always be transparent about any noticeable flaws in the product's description. However, due to it's pre-loved nature minor imperfections may be a possibility. We hope you embrace and enjoy the character that comes with each item. We dry clean all of our vintage clothing and disinfect vintage shoes before they get into your hands.
Vintage items are FINAL SALE and cannot be returned or exchanged. If you have any question about an item, please email shopkaleidos@gmail.com or DM on Instagram, @shopkaleidos.com.


An auto glass warranty is a selling point when you are looking for a windshield replacement. You can't drive with a cracked or chipped windshield — it's a safety hazard. Not only does it obstruct vision, it weakens the frame of your vehicle and puts you at risk of roof collapse in the event of a rollover accident.
When it's time for a replacement windshield, what are you looking for from your new auto glass?
One of the most important factors to consider when you need a new windshield is the qualifications and skill of the installer. It takes specialized training and certification to place and secure a windshield correctly — it's not a DIY repair.
Ask for the company's references and always check past reviews to ensure others had a positive experience. At Glasshopper Auto Glass, we make premium service affordable for all, and we treat your car like our own.
Next, make sure your installer is using original engine manufacturer (or OEM) parts to replace the windshield that's expired. Aftermarket parts that aren't specifically designed for the vehicle will be weaker and leave you and your passengers vulnerable. OEM windshields must meet all federal safety standards — it's your best bet.
While some installers will offer a warranty on the installation, usually this means the auto glass warranty covers their workmanship. They will guarantee that the windshield will not fail for a certain amount of time as a result of their work.
For the most part, high-quality OEM windshields won't fail if they were installed properly. For example, if your installer takes the time to seal the edges with the right caulking, you will not see rainwater infiltrate the vehicle.
No auto glass warranty covers future damage to the windshield. If you begin driving the next day and a rock flies up and chips the glass, it's simply bad luck. While many insurance policies offer add-ons for windshield replacement, make sure you always find out if a repair is possible before you assume you need a replacement. Sometimes small chips or cracks can be repaired, depending on their depth and length.
Glasshopper Auto Glass offers mobile windshield repair service. Not only does this save you time, but you get high-quality installation from an established, experienced, professional team.
Glasshopper Auto Glass has your best interests in mind, and we're open to sharing all the information you need about our auto glass warranty, both parts and workmanship. We are dedicated to excellence, and we're ready to repair and replace your windshield whenever you call.
This entry was posted in Our Blogs on July 17, 2018 by admin.


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Harry Styles Blaspheme? Walks on Water Like Jesus in New Music Video
Harry Styles walks on water in his 'Sign of the Times' music video. Does he think he's Jesus. (Photo: ScreenCap)
Harry Styles, the UK singer and former One Direction member, is likely to rile Christians with his new "Sign of the Times" video. He walks on water like Jesus in Matthew 14 of the Bible. Is hell fire and brimstone headed his way?
The video opens with styles on the shore of a large lake. No one else is featured in the video.
As he approaches the water, he suddenly rises into the air. He soars around the lake and runs across the water in Gucci boots.
Jesus also walked on the water of a lake to reach stranded disciples in a boat. "It's a ghost," they cried out in fear, according to the Bible verse.
The parallels with Jesus in the Bible may be too close for comfort for Christians.
In the 1960s, Beatle John Lennon caused an uproar when he said the band was more popular than Jesus. The Fab Four's records were burned by evangelicals.
Madonna and Lady Gaga were also sharply criticized for using religious symbolism in music videos.
Styles released the video this morning (May 5). It's just starting to go viral, so it's too early to tell how the religious-minded will take it.
It comes ahead of his debut solo album. It's out this Friday (May 12)
Styles filmed the video in Scotland in early April. He obviously doesn't have mystical powers.
He was hoisted in the air by a helicopter for the flight and water scenes, according to E! News.
Check out the video below and be sure to say a few Hail Mary's for Harry.
Tags:Harry Styles, Harry Styles Jesus, Harry Styles Video, Harry Styles Walks on Water, Matthew 14, Sign of the Times Music Video, The Bible
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Travis Barker In 2000: Punk Drumming Grows Up
BY ANDY DOERSCHUK
PUNK DRUMMING GROWS UP
Travis Barker is a stunning example. Spin Blink 182's monster CD Enema of the State, and you hear a drummer with energy and creativity to spare, who must practice incessantly to maintain the astonishing level of technique he unloads into every performance. Listen closely. Barker goes far beyond the double-time punk two-beat on the album, tossing in rhythmic references from a myriad of musical genres, many of which couldn't be further removed from the original plodding punk beats of yesteryear.
The irony isn't lost on him. While he tips his hat to the Clash's Topper Headon and the Descendants Bill Stevenson, Barker doesn't mince words when he says, "I can't honestly listen to the Sex Pistols or Black Flag and go, 'Oh my God, that drummer kicks ass.' Back in the day, musicians looked down on punk music and just went, 'Oh, it's just a bunch of noisy crap.' But nowadays, there are punk bands that can actually play."
And Barker has played with a few of them in his 24-year existence. He was recruited by Blink 182 in 1998, while his former band, the ska-punk outfit Aquabats, opened a series of dates for the trio. When original Blink drummer Scott Raynor unexpectedly got ill and headed home in mid-tour, the other two members – guitarist Tom Delonge and bassist Mark Hoppus – brought in their first ringer: punk drumming wunderkind Brooks Wackerman, who (lucky for Barker) could only fill-in for one gig.
Fate slam-danced in. "They came to me, seriously, two hours before the show and they go, 'Can you learn 21 songs and play our set with us?' I was like, 'Well, yeah, give me a tape really quick.' I hadn't actually listened to their new CD or anything. We had been on the last six shows with them, so I kind of got an idea of what they were doing, or what songs they were playing.
"I played that show with them and they were just going, 'Wow, we're super stoked. We've never sounded this good. Would you be interested in playing with us?' I went, 'Yeah, if anything ever happens and you ever need somebody, just tell me. I'd be more than happy to. I love your music.' Then, about two weeks later, I got a phone call and they just go, 'We want you to be in our band.'"
It wasn't a tough decision for him to make. Even though Barker enjoyed his time with the Aquabats, he couldn't turn down the offer from Blink 182. "It was hard being in [the Aquabats] with ten people," he says.
Hard to make a living?
"Yeah, totally, exactly. And at the time, the Aquabats were trying to get their own TV show. They kind of wanted to be like, I wouldn't say the Monkees, but like, cool action heroes. That's the whole thing, they're super heroes, and it was really aiming more towards a TV show rather than being a band anymore. I was just like, 'I don't want to be an actor. I want to play the drums. I want to be a musician and write songs and write music.'"
So Barker took the plunge, and immediately found himself swirling 'round the center of a tempest that would become only more turbulent. Just three months later Barker found himself punching together songs that would eventually become Enema of the State, a blockbuster release that sold more than four million units and sent Barker around the world several times over.
But first they had to write some songs. And they only had a meager two weeks to do it. Little did his bandmates know that Barker had his own agenda to satisfy during theEnema songwriting process. "All I wanted to do is make sure that not every song on the album had the same tempo and the same feel, like how it was on Dude Ranch," the fast talking Barker says. "I wanted to have, like, a rock song, like 'All the Small Things.' I wanted a mid-tempo song, like 'Going Away to College' and 'Don't Leave Me.' We still wrote some super-fast songs, like 'Party Song.' Tempo-wise, it's the fastest song we've ever written. And then we wrote the slowest song we've ever written, 'Adam's Song.' I just wanted to have a variety of songs on there, not just like, your palatable punk song over and over again."
So how did he pull that off? "Basically Mark and Tom write all the lyrics, come up with their guitar and bass parts, what key it's going to be in, and then I sit there and I arrange everything. I put all the breaks in, like 'Don't Leave Me,' all the breakdown things in 'Going Away to College,' everything. I'm learning how to play guitar right now, but I can't sit there and write a rad song yet, so, I'm super into arranging songs and making sure parts sound good. That's basically what my job's been in any band I've been in."
And when it came to writing drum parts, Barker has complete control. Most often he tends to stick with his first instinct when he's introduced to a new song by Delonge and Hoppus. "I hear what they're doing, and then I pretty much keep the first possible thing I can think of, because that's what will probably most suit the song," he says. "Then from there, I just add candy where I think it should be. I mean sometimes I'll come up with three different parts I can play over a verse, three different things I can play over a chorus, and then I ask them, 'Hey, what do you guys think sounds radder?' And Mark and Tom will mostly pick the most complicated things just because they think it looks neat or it sounds neat. But then I just go back and I listen to it recorded, and I go, 'Okay, maybe it sounds like I'm overplaying,' or 'I'm doing something dumb there.'"
Barker had gotten a taste of professional studio experience the year before when he recorded Fury of the Aquabats, but it was nothing like what he would encounter with Blink 182. Besides the luxury of working with a major label and a fat budget, perhaps the biggest difference was that he found himself working side-by-side with Jerry Finn, the celebrated producer who has recorded punk bands such as Rancid and Pennywise, as well as more mainstream acts like Presidents of the United States of America and Goo Goo Dolls.
"Oh God, Jerry Finn rules," Barker raves. "He's not like a dork-producer. He can play every instrument, he can sing, he's awesome. I was just kind of scared, because Jerry had worked with so many rad people. I didn't know what to think. Then when I went in there, I would just go, 'Was that a good take?' He's all, 'God, that's awesome.' I would just go, 'I can't believe Jerry Finn's giving me any kind of props, you know?'"
Their happy marriage was sullied by just one little disagreement. "Jerry thinks Orange County Drum and Percussion snares sound like popcorn," Barker laughs. "I love Orange County snares. I think they're amazing. But Jerry likes a big, meaty, tough snare. In the studio, I'll tune the snare drum down or I'll do something totally different to make someone happy. But as far as playing live, I like a snare drum that just cracks and I can beat the hell out of it and I can hear it really loud and so can everyone else, you know?"
Sure, we know, but, predictably, Finn got his way, anyway. In the end, Barker used a total of 12 different snare drums on Enema, supplied by the notorious L.A. drum tech/rock star Mike Fasano (affectionately known by his clients as Sack – please don't ask why). "We used a bunch of crazy snares, like the Guns 'n Roses snare they recorded 'November Rain' and 'Don't Cry' on," Barker says. "I didn't mind it. I can understand from song to song, different songs have different moods and, 'This might sound better here, this might sound better there.' The only song I actually used the snare I really, really love on was 'Don't Leave Me,' and that's like, a fast, fast, fast song, and that has a higher pitch snare, which I'm totally in love with."
Truth be told, Barker chose to be almost completely uninvolved with his recorded drum sounds. In fact, he wasn't even in the studio while Finn tweaked his tones. "I hate that process of recording when, before you actually record, you sit there and hit the snare drum for ten hours. You're just so amped, you just want to hurry up and play the song. So I told Jerry, 'You know what would be rad is if you had someone else do all that, and then when I get there, I just start recording songs.' So Sack went in there and messed around, got everything Jerry needed to get done, and then I started recording. And it just made everything so much less stressful."
The strategy obviously worked like gangbusters, because Barker practically set new Guinness records by cutting all 17 of his Enema drum tracks in a mere two days. "A lot of them are first takes," he says, barely able to contain his pride. "See, I didn't know. Jerry had worked with God drummers or whatever, and I was going, 'Am I taking too long?' He's all, 'You know, you're way ahead of schedule. Most people only do a couple tracks a day.' And I was like, 'But I'm fine, nothing sounds rushed or half-assed or anything, right?' And he was like, 'No, I'm totally in love with everything.'"
Even more remarkable is the fact that Barker cut the majority of his drum tracks solo, without Delonge or Hoppus playing along. He didn't even wear headphones. And the weirdest thing? Barker still was able to match the click track without actually hearing it. "There was a click track playing that Jerry Finn was listening to," Barker explains. "He gave me the tempo, I put on the headphones, put the headphones back on the floor and played the songs. And my meter was good; I didn't have to re-record anything very much at all."
But why work like that? "I hate wearing headphones in the studio. I don't want to listen to anyone else. I just want to listen to myself and make sure everything's okay. So I record my drum tracks and then they come back and do bass or guitar or vocals. It's easier that way. When I play live, I don't use a monitor. I have nothing behind me. I just play my drums and they follow me. Just like in a jazz band. Everyone's pretty much going off you. You're the rhythm section. You're the guy holding everything together."
It's a good thing Barker whipped through his drum parts with such aplomb, because as soon as he finished, he had to turn on a dime and head out on the road with another of his favorite punk bands: the Vandals. "The day before I went to go record [Enema] and start on my drums, the Vandals called and went, 'We want you to come on tour with us,'" Barker says. "I was just like, 'Oh, rad.' I love the Vandals, it's fun playing with them, too, because Warren [Fitzgerald, guitarist] writes the raddest stuff.
To cover the Vandals mega-velocity material, Barker invested in a double-bass pedal. It wasn't the first time he played double kick, although he makes it sound like it may be the last. "When I was a kid, I learned how to do double-bass, like, the really speed metal kind of stuff because my friends were into it," Barker remembers. "But I kind of got out of it really quick. As soon as I got into high school, I was just like, 'Gosh, this double bass thing is dumb.' I didn't really want to sit there and play sixteenth-notes on my bass drum and sound like a bad Motley Crue album or something."
After returning home from the Vandals tour four weeks later, Barker was a little – but not completely – surprised to discover that his Blink bandmates had barely made a dent in the new album. "Jerry's super funny, like, super witty," Barker says. "You can sit there and you guys will have the time of your life, making fun of people and doing whatever. Mark and Tom are the same way, so a lot of stuff took a little while. They were just having fun, it wasn't like they were stumped on anything, and then when I got home, they weren't done yet."
Because of the back-assward solo method Barker used to record his drum parts, one would think that he might have played some things differently if he had known how they would sound after the guitar and bass were overdubbed. "I would've probably done a bunch of new stuff that I do now," he confirms. "Just little things, like, where I put extra fills. But then, it might've sounded like I was overplaying or something. I'm pretty happy. I can listen to the CD and go, 'Yeah, I love that,' or 'I love this.' But just like anything, you've probably played those songs maybe ten times, 20 times before you record them. Then you go on tour and you play them hundreds of times and then you go, 'Aw man, I should've done this there,' or 'This fits perfect in here.'"
"Party Song" contains Barker's favorite drumming performance on Enema "just because it's fast and I think there's some cool fills in there. I just like the way that song's arranged. I like the way it feels, like, when it goes into the half-time bridges before the chorus, and then the chorus busts in and it's half-time and it's kind of like that happy, like, surf-punk beat or whatever."
It turns out that "Mutt" is his least favorite song on Enema. "So much has changed from the track," he says. "We recorded that for a soundtrack like a month after I got in the band. If I could change anything, I would change that song, just because there's cooler drum parts now. It has a breakdown in the middle where it's like, four measures long on the CD and it's like, eight measures live. There's this cool hip-hop kind of beat that I do in the middle. It sounds rad."
For those who marveled at Barker's paper-tearing snare fill on "Going Away to College," the final answer is – it is a single-stroke roll. "I don't do any double-stroke rolls, anywhere, in any song," a suddenly emphatic Barker insists. "If you watch somebody do a double-stroke roll instead of a single-stroke roll, it's going to be ten times weaker and harder to hear than a single-stroke roll. Even if your chops are totally up.
"Maybe if I had a big, fat, ugly sounding snare drum, and it was really loose and sounded like an old rock snare it would sound good, but my snares are so tight, like, you can pick up anything I do. Like, if I do a ghost note you're going to hear everything. So if I did do a double-stroke roll on my snare drum, it would sound so wimpy, so I just kind of go for it live. The problem is, we play 'Going Away to College' twice as fast as it's recorded. It's kind of hard. I haven't choked yet."
Time after time on Enema, Barker digs into his bag of tricks to demolish the punk drumming ethic. For example, he injects some humor into the bridge of "Dysentery Gary" by suddenly breaking into a fairly faithful bossa nova pattern [Ex. 1]. "We actually wrote that bossa nova part a couple days before we went into the studio. It wasn't even supposed to be like that. I just played it as a joke one time during practice when we were writing the songs, because I just got bored of playing the same drum parts, and everyone liked it a lot, so we kept it."
And on the breakdown of "Going Away to College," Barker shifts into low gear with a halftime march groove on the snare [Ex. 2]. You might be surprised to learn that Barker's inspiration came from one of the granddaddies of funky fusion. "There's thisZildjian Day in New York video where Steve Gadd does a full solo, and for the first five minutes it's all just on snare drum, like a marching beat. I always like the way that sounded, so that's kind of why I put that in the middle of 'Going Away to College.'"
References to marching percussion? Steve Gadd? Bossa nova? Barker sounds less like a punk rocker and more like Berklee grad. And that's because he's a consummate drummer who never seems satisfied with his level of technique or expertise. "My chops probably wouldn't stay up unless I practiced every day," he says. "Out on tour, I practice all day, up until the time I play. And then I teach when I'm at home, so I always keep my chops up."
It's hard to believe that there was a time when Barker wasn't nearly as obsessed with the percussive arts. Sure, he banged on pots and pans as a child, but by the time he was in elementary school his interests turned to skateboarding and BMX. "I kind of didn't want anything to do with drumming," he says. "But my mom kind of made me do it."
More than any of the countless drummers who have inspired Barker along the way, his mother, Gloria Marie Barker, had the most profound influence on his drumming. While she wasn't a musician, Gloria loved music, and introduced her son to recordings by Buddy Rich, Gene Krupa and Louis Bellson. The family lived in Fontana – "it's like the ghetto of Southern California," Barker says.
"She made me be in madrigals, which was like a men's and women's choir group. She made me take private singing lessons, when it wasn't so cool to. I would be out skateboarding or riding my bike or something with my friends and then she would call me in. If I didn't come right away, she would embarrass me and go, 'It's time to go to singing lessons!' I'd get so bummed out, I'd just go, 'Oh man, my mom's wrecking me.'"
His interest in drumming grew incrementally in junior high, when he began jamming with friends who played guitar and bass and shared a mutual interest in loud, raucous music. But he finally decided to succumb to the drumming bug when his mother died. It happened the day before his first day of high school. "I just really concentrated on playing the drums then," he says. "It was kind of just like going home from there. I was like, I've got to do this for my mom now.
"My mom kept this crazy photo album from the time I was in first grade until the time that she passed away. Every year, I would write about new friends I made or what I wanted to be doing when I grew up. And every one of those [pages] said that I wanted to be a professional drummer in a band. It's crazy to look back on that and just go, 'Whoa,' you know?"
Barker's Basic Blink Kit 2000
Drums: Orange County Drum & Percussion
1. 22″ x 18″ Bass Drum
2. 14″ x 6″ 20-Ply Vent ed Snare
3. 12″ x 10″ Tom
4. 16″ x 14″ Floor Tom
Cymbals: Zildjian
A. 14″ A Custom Hi-Hats
B. 18″ Z Custom Crash Medium
C. 21″ A Sweet Ride
D. 19″ Z Custom Crash Medium
Travis Barker also uses Remo heads, Zildjian sticks and Pearl hardware.
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Facebook has developed a new feature targeting parents!
An easy way to make money through Instagram
See the First 360-Degree Video Ads on Facebook
Facebook founder Mark Zuckerberg announced earlier his support for the animated images and the possibility of uploading it as a personal post but what was announced today is the launch of a new update to the video player that enables you to watch the clips in a 360 degree.
This update aims to improve the usage of virtual reality glasses, where the user will wear customized glasses with a phone inside, and once you move and rotate your head, the angles of the video will move and rotate too.
Mark Zuckerberg published on his Facebook account: "360 video is a completely new experience because you can move the camera around. This opens new ways of sharing experiences and makes you feel like you're part of what you're watching. It's a step towards even more immersive experiences."
facebook 360 degree
next big trend
Feeling tired after eating?
Why do we need to turn down the radio when we're lost
Who pays for facebook?


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It's always best to use a tape measure and measure your dog's neck and ensure the collar fits them perfectly (see our last picture for reference). Unsure of what size to order or buying a gift? Here's a handy reference chart based on typical breeds.


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If you like yourcaptcha.com, send me a captcha message via facebook!


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Keeps the grandkids occupied (and quiet) when on a road trip!
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Great bang for my buck awesome set of 2 monitors that where super easy to install took me about 20 minutes to install both headrest units..Look awesome would recommend this product to anyone. Will post photos as soon as i get a chance.


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While you were sleeping Ukraine concern heightens
Tuesday 4th March 2014
Stocks on both sides of the Atlantic slumped amid increased concern about the growing crisis in Ukraine and the potential for war with Russia.
Russia's ruble sank to a record low, while the country's key stock index plunged 11 percent. Diplomatic efforts ramped up on Monday with UK Foreign Minister William Hague visiting Kiev, a day before US Secretary of State John Kerry is to arrive.
In afternoon trading in New York, the Dow Jones Industrial Average dropped 1.28 percent, the Standard & Poor's 500 Index shed 0.99 percent, while the Nasdaq Composite Index fell 1.23 percent.
Declines in shares of Visa, down 2.3 percent, and those of 3M, down 1.9 percent, led the Dow lower. All 30 members of the index were down.
Some analysts said the decline on Wall Street was partly due because of the recent rally-the S&P 500 had closed at a record high on Friday.
"If you need an excuse to sell, this is a good one," Rick Meckler, president of investment firm LibertyView Capital Management in Jersey City, New Jersey told Reuters.
Some analysts predicted the crisis will not escalate, which will limit the impact on equity markets.
"Our base scenario is that we don't see an outright escalation," Peter Garnry, an equity strategist at Saxo Bank in Copenhagen, told Bloomberg News. "The grip on markets should be short lived."
Others disagreed, expressing concern about a broad and long-term impact.
"The situation in the Ukraine will have a big impact on corporate earnings," Robert Halver, head of capital-markets research at Baader Bank in Frankfurt, told Bloomberg. "I see no quick solution to the problem. The energy supply to western Europe is at risk at the moment."
In Europe, the Stoxx 600 Index ended the day with a 2.3 percent slide from the previous close. The UK's FTSE 100 fell 1.5 percent, France's CAC 40 retreated 2.7 percent, while Germany's DAX sank 3.4 percent.
West Texas Intermediate crude soared to a five-month high, rising as much as 2.6 percent.
Bullion also gained as investors looked for a safe-haven investment. Gold futures for April delivery climbed 2.4 percent to US$1,353.80 an ounce.
The accelerating international tension certainly stole the focus from better-than-expected US economic data. The Institute for Supply Management's index of national factory activity climbed to 53.2 in February, up from 51.3 in January.
Separately, consumer spending rose 0.4 percent in January, following a 0.1 percent increase in December, according to Commerce Department data.


Stephen Larson, Founder & CEO of MetaCell, is an expert on the intersection between computer technology and biological systems and is interested in how computer systems can help us to understand fundamental principles of life. He currently also serves as the Chief Information Officer of One Mind for Research, a non-profit dedicated to eradicating brain disease by transforming the healthcare research system through public-private partnerships. He has worked as a professional software engineer for a major New York City investment bank, co-developed a patent, presented at more than two dozen forums, published in academic journals such as Frontiers in Neuroscience and Nature, and has had his work featured in the New York Times, Wired, Discover, and MSNBC.com. His diverse educational background includes a bachelor of science and master of engineering from MIT in computer science as well as a Ph.D in neuroscience from the University of California, San Diego.
Multiple sclerosis (MS) is an inflammatory disease that damages myelin sheaths around the axons of neurons. Although much effort has been invested in understanding the cellular processes, lipids, and proteins putatively involved in MS, there is currently no cure. A lack of understanding of how fundamental processes interact to give rise to MS phenotypes is the greatest challenge we face in making progress towards a cure.
We live in an information age and are deluged by data generated by many different individual studies. However, our ability to integrate this information into complex holistic models that enable deep hypothesis generation is still lacking. Recently, the first major whole cell in silico model that predicts phenotype from genotype was developed in the open source (Karr et al., 2012). This model includes a comprehensive set of mechanisms of cellular activity. Although their target organism was Mycoplasma genitalium, a microorganism with a small fraction of the number of human genes, the basic cellular processes in this organism are largely conserved in other animals. Thus, this effort has provided an important foundation for future in silico predictive models.
In this session we will review the Karr model as a foundation for modeling MS, and discuss what methods need to be applied to move forward.