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Гільйотина — пристрій, який використовується для відтинання голови при здійсненні смертної кари. Широкої популярності і страшної слави цей пристрій набув під час Французької революції, коли під його лезом загинуло принаймні 15000 осіб. Винахід гільйотини помилково приписують доктору Жозефу Гійотену, який лише запропонував її використання, хоча як знаряддя для здійснення смертної кари гільйотина існувала до того часу вже декілька сторіч.

Усупереч легенді, сам ініціатор створення гільйотини Жозеф Гійотен не гільйотинований, а помер своєю смертю 1814 року. Його родичі довгий час намагалися домогтися перейменування гільйотини, проте зазнали невдачі, після чого вирішили змінити прізвище.

Інше вужче значення слова «гільйотина» — технічний пристрій з аналогічним по конструкції лезом для розрізання металів.

«Тимчасове знаряддя гуманної страти» проіснувало у Франції 185 років, позбавивши життя короля з королевою, революціонерів, засновника сучасної хімії, а також тисячі уявних і справжніх злочинців. Уявлення про гуманізм в різні епохи розвитку людської цивілізації розрізнялися дуже серйозно. Зараз досить важко уявити, але така «машина смерті» як гільйотина з'явилася на світ з найбільш гуманних міркувань.

Перші відомі застосування гільйотини

Коли точно з'явився пристрій, який тепер називається гільйотиною, не відомо, однак нема сумніву в тому, що подібний пристрій застовували в Європі принаймні декілька сторіч перед народженням доктора Гійотена, від кого пішла його назва.

Гільйотина як пристрій функціонував у Німеччині, Великій Британії і Італії ще до 1300 року, але не існує точних документальних свідоцтв цього. Перше задокументоване використання гільйотини датується 1307 роком. Саме цього року, згідно з Голіндшедською хронікою, виданою 1577 року, пристрій, подібний до гільйотини, використовувався 1 квітня 1307 року при страті Мердока Баллага в місті Мертон в Ірландії.

Гільйотина під час Французької революції

3 травня 1791 питання смертної кари знову з'являється на порядку денному парламенту. Інший депутат парламенту Луї Пелет'єр вносить на розгляд пропозицію, в якій він вимагає повної і беззаперечної заборони смертної кари. Ця пропозиція отримує підтримку інших членів парламенту, зокрема таких впливових революціонерів як Максиміліан Робесп'єр, Оноре Габрієль Мірабо та інших. Хоча пропозиція й отримала підтримку деяких депутатів, значною більшістю парламент висловився все ж таки за збереження смертної кари, і 1 червня приймає постанову, в якій смертна кара була означена як просте «позбавлення життя» без тортур і приниження. 3 червня, оскільки питання скасування смертної кари було вже знято з порядку денного, вноситься інша пропозиція, що засудженому на смерть відтепер відтинатимуть голову, і таке положення було внесене й затверджене в кримінальному кодексі.

Оскільки спосіб страти вже був законодавчо вирішений, то постало питання яким саме чином відтинати голову. Офіційний судовий кат Сансон надсилає запит у парламент, аби точно встановити процедуру страти, яка б відповідала постулатові про страту без жодного страждання.

Останні приклади використання
Національні збори Франції доручили розробку такої машини відомому своїми працями з хірургії доктору Антуану Луї. Доктор Луї створив ескізи креслень машини, а втілення їх у життя лягло на плечі німецького механіка Тобіаса Шмідта, якому допомагав знаменитий паризький кат Шарль Анрі Сансон.

Головною деталлю гільйотини був важкий косий ніж, який по напрямних з висоти 2–3 метрів падав на зафіксовану спеціальним пристроєм шию засудженого. Тіло жертви фіксувалося на спеціальній лаві, після чого кат натискав важіль, і ніж, що падав, ставив крапку в житті злочинця.

Нова машина була затверджена Національною Асамблеєю Франції як знаряддя страти 20 березня 1792 року.

Перша страта зі застосуванням гільйотини відбулася в Парижі 25 квітня 1792 року, коли за свої злочини головою заплатив убивця Жан Ніколя Пелітьє.

Глядачів, які зібралися подивитися на нове видовище, воно розчарувало своєю швидкоплинністю. Однак потім почалася епоха революційного терору, яка щедро компенсувала швидкоплинність кількістю страт. На піку революційної боротьби страчували до 60 осіб на день. А революційна армія Франції, вирушаючи в похід для упокорення бунтівників, везла зі собою похідні гільйотини.

На рубежі XVIII—XIX століть вчені вважали, що відрубана голова живе ще від 5 до 10 секунд. Тому кат брав відсічену голову і демонстрував її натовпу, щоб страчений встиг побачити, як потішається над ним публіка.

До середини XIX століття в Європі гільйотина використовувалася мало, оскільки її пов'язували з французьким «революційним терором». Потім, однак, у багатьох країнах вирішили, що гільйотина — це дешево, надійно і практично.

Особливо активно гільйотину використовували в Німеччині. За часів правління Гітлера за її допомогою було страчено приблизно 40 тисяч учасників Опору. Пояснювалося це просто — оскільки бійці Опору не були солдатами регулярної армії, їх замість розстрілу «неблагородно» страчували як кримінальних злочинців.

Гільйотина як засіб страти використовувалася в післявоєнній Німеччині, як у ФРН, так і в НДР, причому на Заході від неї відмовилися у 1949 році, а на Сході — лише 1966 року.

Найбільш «трепетне» ставлення до гільйотини зберігалося у Франції, де порядок страти на ній не змінювався з моменту закінчення епохи «революційного терору» до повного скасування смертної кари.

Страта за розкладом
Підготовка до страти починалася о 02:30 ночі. Протягом години кат і його помічники приводили механізм у робочий стан, проводили його перевірку.

О 03:30 ранку директор в'язниці, адвокат, лікар і інші офіційні особи відправлялися в камеру до засудженого. Якщо той спав, директор в'язниці будив його і проголошував:

Після цього засудженому дозволяли справити природні потреби, вручали спеціально приготовлені сорочку і піджак. Далі в супроводі двох поліцейських його переводили до кімнати, де він міг написати прощальну записку рідним або будь-яким іншим особам.

Потім засуджений отримував кілька хвилин на спілкування зі священиком. Щойно той завершував обряд, поліцейські передавали засудженого до рук помічників ката. Ті знімали з нього піджак, зв'язували руки за спиною і ноги, після чого саджали на табурет.

Поки один з помічників ката ножицями зрізав комір сорочки, засудженому пропонувався стакан рому і сигарета. Щойно з цими формальностями закінчували, помічники ката підхоплювали жертву і переносили до гільйотини. Все займало лічені секунди  — засудженого клали на лаву, шию фіксували в пазах, і кат натисканням важеля приводив вирок у виконання. Тіло жертви з лави негайно скидали в приготований ящик із субстанцією, що поглинає кров. Слідом туди ж відправляли і голову. Весь процес завершувався приблизно о 04:00 ранку.

Скасування гільйотини
Останньою публічною стратою у Франції стала страта Ойгена Вейдман, вбивці 7 чоловік, що сталася 17 червня 1939 року в Версалі. Страта затрималась за часом і сталася о 04:50 ранку, коли вже розвиднілося. Це дозволило настирливим операторам кінохроніки відобразити її на плівку.

Непристойна поведінка натовпу і журналістів під час страти Ойгена Вейдман змусила владу Франції відмовитися від публічних страт. З того моменту і до скасування смертної кари загалом процедура здійснювалася в закритих внутрішніх двориках в'язниць.

Останньою людиною, страченою у Франції на гільйотині, 10 вересня 1977 року був туніський іммігрант Хаміда Джандубі, засуджений на смерть за тортури своєї знайомої, 21-річної Елізабет Буську.

У 1981 році президент Франції Франсуа Міттеран підписав закон, який скасовує застосування смертної кари в країні.

Останній державний кат Франції Марсель Шевальє помер у 2008 році. Марсель Шевальє, який успадкував посаду державного ката від свого дядька, мав намір згодом передати її своєму синові Еріку, який працював помічником на стратах, що проводилося батьком. Однак трудова династія французьких катів перервалася у зв'язку зі скасуванням професії.

Найбільш відомі французькі жертви гільйотини
 Людовик XVI
 Марія-Антуанетта
 Шарлотта Корде
 Антуан Барнав
 Жан-Сільвен Байї
 Жорж Жак Дантон
 Антуан Лоран Лавуазьє
 Максиміліан Робесп'єр
 Жорж Кутон
 Луї Антуан Сен-Жуст
 Матьє Журдан
 Жан-Луї Верже
 Каміль Демулен
 Антуан Фук'є-Тенвіль

Примітки

Джерела

 Carlyle, Thomas. The French Revolution in Three Volumes, Volume 3: The Guillotine. Charles C. Little and James Brown (Little Brown). New York, NY, 1839. No ISBN. (First Edition. Many reprintings of this important history have been done during the last two centuries.)

Посилання
 Гільйотина  //

 Все про гільйотину.
 Машина для «гуманної» страти
 The Guillotine 1792—1977.
 The Guillotine

Французька революція
Смертна кара
Види вбивств


Soni took gold in the 200m breaststroke in Beijing, beating the favourite Liesel Jones in a World Record time, who had beaten her into silver in the 100m breaststroke. She also took a silver in the 4x100m medley relay.
At the 2011 Long Course World Championships, Soni took home three golds (100 and 200m breastroke, 4x100m medley relay) and a bronze (50m breaststroke).
Known as "Reb" to friends and family, she preferred gymnastics, only taking up swimming because it meant she didn't have to wait for her sister's class to finish.


There's a delivery gap between organizations and their customers right now.
80% of brands think they offer top notch customer experience while only 8% of customers agree with that assessment.
First, when companies try to grow revenue without growing customer loyalty, they engender an adverse customer reaction which sours their experience.
Second, customer needs are continuing to evolve so rapidly that solid B2B relationships are getting harder to develop and maintain.
There are two keywords there: loyalty and relationships.
I believe a fundamental problem exists today that keeps businesses from creating the type of solid relationships with customers that breed loyalty and all its manifold benefits (revenue growth, advocacy, etc.).
What is that fundamental problem? Siloing.
No, I'm not talking about giant metal cylinders designed to hold wheat and grain. I'm talking about that organizational phenomenon in which virtual walls go up between each of the constituent parts of a company.
Notice how each team forms into a neat little column. Each person falls into his or her own category with its own reporting relationship, all unified under the one CEO.
There are no horizontal lines, only vertical ones.
An organizational chart like this one, no doubt, makes for a lean, efficient organization. Operational efficiency is the name of the game here and, in a setup like this one, as long as each player does his or her part, the corporate machine keeps humming along.
But can we live without horizontal lines? Does Michele Lucifer in Finance know what Marilyn Brown is doing on the Technical Team? And, what about the customer? To what extent does their experience inform decision making across multiple departments?
As effective as this structure may be, it makes fragmentation nearly inevitable.
Have you ever called for technical support only to be shuffled from department to department as you offered your information over and over again?
Did you get tired of telling your story? Did you wonder why they couldn't share customer information across multiple departments? I mean, they've heard of computers, right? Where's the communication?
This is just one small example of how a siloed organization can create a frustratingly fragmented customer experience.
The problem, of course, cuts deeper than customer service. It works itself into the core of the customer's experience from the very beginning.
Consider how the following departments inject fragmentation into the product/customer lifecycle at your typical SaaS outfit.
Product development operates with its own set of goals—to develop a beautifully designed, feature-rich, and robust piece of software. To be sure, product developers should have the market in mind, but their first concern is to make a product that works.
Marketing, however, can't just trumpet the product's virtues in abstraction. They need to fill a hole in the marketplace, so they develop messaging that focuses not on the product's features, but its benefits to the customer. This already represents an opportunity for a disconnect between what the product is vs. what it's for.
Sales is left to negotiate the gap between features and benefits, working hard to show how the product meets this customer's specific needs. Here, the opportunity for a disconnect between promise and reality is acute.
Finally, customer success is left holding the bag after the transaction is consummated. They've got to negotiate the various gaps created by organizational fragmentation and show they customer how to succeed with a product that may or may not live up to their exact expectations.
In an ideal scenario, these departments would be in perfect sync with one another. There would be no gap between the product's design and it's deployment in the field. There would be no slippage between promises made by the sales department and promises kept by customer success specialists.
To the extent that organizations silo off each of these key departments from one another—either formally by way of an organizational chart or materially by way of a fractious, non-collaborative work enivironent—the customer's experience will seem fragmented and disjointed.
In order to create a positive customer experience, siloed companies will need to revisit both their organizational structure and culture. In what follows, I offer 4 tips for combating the silo effect and creating harmony in both the product and customer lifecycles.
That's true, but in a siloed organization the trouble isn't a lack of vision. In fact, the problem is an abundance of vision. Each department has its own definition of success and its own ways of achieving its vision.
For product development, their vision is to create a beautiful product. For sales, the vision is to move X number of units. For marketing, it's to tell a compelling story. For customer success, it's helping the customer make the best use of the product.
There's no reason why each of these visions shouldn't be in harmony. But, in practice, they often operate in isolation from one another, each team pursuing their own ends in ways that rub against the needs and objectives of other departments.
What's needed to bring these wandering eyes together is one common unifying vision—a metanarrative used to encompass the broader organizational mission. Each department should articulate its own vision under that one common story.
The benefit of this type of unified vision is a renewed focus on the bigger picture. It realigns each department's priorities to satisfy the global needs of the entire company—specifically, concerning the customer. In so doing, it inspires each department to get their objectives back in line with the broader organizational mission.
A customer-centric culture is one in which… wait for it… the customer occupies the center. This doesn't mean a 1950's-style "the customer is always right" mentality, but something more concrete (and less ridiculous).
This cultural commitment manifests itself in corporate values as each individual realigns their daily efforts to enhance the customer's experience.
In a customer-centric culture united under a single vision, silos naturally begin to crumble as departments more readily come together to serve the greater good.
Organizational silos breed environments marked more by competition than collaboration. When departments compete against one another, you can rest assured that the customers' needs will take a backseat to whatever goals and aspirations your team members may be trying to fulfill.
In order to beat back this unhealthy sort of competition, organizations will need to bring together their various departments in a spirit of active collaboration.
This begins at the top of the organizational chart. As I said above, vision matters, and it's especially important that senior leadership advocates for cross-departmental collaboration as a feature of that mission.
It also involves interdepartmental team building. Seek opportunities to bring together representatives from each corner of the organization to work towards common solutions for customer needs and issues.
It also involves actively injecting the customer's voice into every level of your organization by way of your customer success team. Due to their proximity to the end user, CS is best positioned to carry out this type of meta-collaboration.
Earlier, I mentioned the frustration customers feel when they have to share basic information with multiple departments in an organization. The cause for this annoyance is fragmented, disintegrated data. To improve customer experience, organizations will need to bring together multiple strands and free-floating customer information.
In our modern, cloud-dominated space, data integration can be incredibly complicated. When each department employs its own suite of cloud applications to help it carry out its task, customer data ends up strewn across the web in multiple locations.
From an information management perspective, this makes for a chaotic disconnect that ultimately trickles down into a fragmented and frustrating customer experience.
For the sake of your customers' experience and success, your organization will need to dedicate resources to cutting through this data morass and bringing everything into one cohesive dataset accessible to everyone who needs it.
To recall the numbers I shared above, 80% of organizations think they're doing a bang-up job in customer experience. Only 8% of customers agree.
If its true that customer experience is the new battlefield in modern business (and it is), then you can't afford to make your customers suffer the effects of your organizational siloing.
It's time to tear down those silos and start fostering a vital connection between each part of your organization. Your customers may never "see" whatever internal change you make, but you better believe they will experience them.


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Home Uncategorized Meet Argentine TV Chef Maru Botana, the Taco Terrorist
Screenshot courtesy of excelsior.com
Meet Argentine TV Chef Maru Botana, the Taco Terrorist
These are tacos of mass destruction.
Bill Esparza
Last week, Argentine celebrity and award winning chef Maru Botana of Argentina's Maru, en Casa and Sabado en Casa, created an international incident. Her crime? No less than the desecration of Mexican gastronomy. On her personal web page, Maru TV, she portrayed the making of an entirely false taco recipe.
Botana has since been attacked in newspapers, online publications, and on social networks where her ridiculous recipe was called "an act of taco terrorism." Tabascan chef Aquiles Chaves from Houston's La Fisheria, and star of Fox Life's Aquilisimo, scolded the Argentine chef thusly via twitter: "Mrs. Botana, it's not enough to have good intentions to teach true Mexican tacos; you should study and investigate." He went on to say, "to be in front of the camera is a great responsibility."
What was so bad about these tacos? Certainly we've seen everything from the Pico de Gap Truck to Sun Tacos named one of the worst restaurants in the U.S. by the Daily Meal. And don't forget chef Lorena Garcia's Cantina Bell menu for Taco Bell, which is a mad chemist's version of Chipotle.
In Maru's video (which has since been removed from her website), new ground was broken. To make her tortillas, she mixed corn and wheat flour, salt—that's a no-no-—with 10 tablespoons of vegetable oil, which isn't an ingredient in either flour or corn tortillas, and certainly not for hybrid flour and corn tortillas. But the most outrageous moment came when she rolled a tortilla onto the press and then put the whole press directly on the burner—that's something you don't see every day, or ever. Not in this, our modern day, and not in the more than 3,500 year history of hand-made corn tortillas.
The filling was made from eggplant, chicken (note there are no chicken tacos in Mexico, unless you're from Mexicali) tofu, and other vegetables. To add insult to injury, Botana sautéed the ingredients in a wok!
She plated her chicken, tofu, and eggplant tacos onto the weirdly rigid tortillas, and then haphazardly garnished them: some tacos were topped with cherry tomatoes and avocado, but no other condiment—no salsa, no cilantro (even chef Lorena Sanchez would have a problem with that), and no onions.
In L.A. we love all tacos, from the traditional to the hard shell variety, made by Mexicans and non-Mexicans alike, and prepared by professional chefs, line-cooks, weekend warriors, and skilled taqueros. We are open-minded, but chef Maru Botana has infuriated taco lovers in Mexico and beyond (ourselves included) with her tacos of mass destruction.
Argentine tacos
Maru Botana
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redpajama_set_name: RedPajamaCommonCrawl


text:
Wunderlist 3 previewed: fast sync, gorgeous UI and 60+ improvements
Christian Zibreg on July 10, 2014
Berlin, Germany-based 6Wunderkinder, the makers of the popular Wunderlist to-do, task and list management app, is getting ready to release a major new version. The wait for Wunderlist 3 is almost over, developers told me via email.
Filed as "our biggest update ever," Wunderlist 3 brings fast real-time sync engine, top-to-bottom makeover with a beautiful new design and over 60 various improvements to put the fun back into note-taking, task management and list creation and curation…
From the blurb:
We love lists. They capture ideas, things to do and places to see. And when you share them, they influence the world around you. Wunderlist 3. Premiering Soon.
Wunderlist 3's revamped interface feels like a whole new app. It's obvious that the team has painstakingly optimized every single detail and left no stone unturned. As a result of user feedback, much of the app's focus is on a more reliable and way faster syncing engine.
Other than that, developers took the time to improve performance and implement a lot easier way to curate and share your lists. "We've made over 60 new improvements to deliver a completely new Wunderlist experience that's truly a delight to use," explains a blog post.
As they're making final preparations before launch, developers shared a nice introductory video, included below.
The app "is coming very soon" to your phone, tablet and desktop and we'll be making sure to keep you in the loop and tell you all about Wunderlist 3 as soon as it hits the App Store/Mac App Store.
To get notified and be one of the first to experience Wunderlist 3, sign up here.
Wunderlist for OS X is free in the Mac App Store.
The universal Wunderlist for the iPhone and iPad was last updated in October 2013 and is available free of charge, too.
Wunderlist Pro subscriptions are available via In-App Purchases for those who can't live without more sophisticated features such as access to Files and Assigning or comments to communicate with your teammates about to-dos.
App Store Apps
App Store holiday shutdown means no new apps or updates for you from December 23-27
Developers have earned $120 billion since App Store's 2008 debut
Apple clarifies only in-app commissions have dropped to 2.5 percent


all atop grilled bread. And we opened the Marietta Angeli Cuve'e, '06, a blend of Zin, Petite Sirah and Carignane. It's pretty fruit-forward but I think will be nice with the vegetalness of the crostini.
Also, have you seen Red? We watched it last night and thought it was a hoot. John Malkovich is too great for words. DD/D, I am jealous that you know/worked with him. He seems like the type -like Christopher Walken- who is in real life just like he is on screen. Not creepy but not like he has to try real hard in his roles…SO eccentric- I love it.
How cool are these stools?!


ETE Ltd. will exhibit at ENEX 2019 (Energy and Environment Exhibition) to be held at Big Site from January 30 (Wednesday) to February 1 (Friday). Exhibition booth is "2L-25" with the name "Honjo Waseda International Research Park / ETE". This booth is near the center of East Hall 2, in the back of the large booth 2F-25 of Chubu Electric Power. We will introduce new technology.
We are ready to sell the technology of "Neo-Air" Next Generation Air Conditioning System for EV which demonstrated at ENEX 2018 and HVAC & R 2018. For details, please see this PDF.
With the next-generation heat pump system using the refrigerant R134a, the temperature of the compressed refrigerant gas from the compressor reached a high temperature of 101.8°C at a pressure of 1 MPa. We will demonstrate the prototype machine at the exhibition hall.
We decided to exhibit at the energy-saving exhibition ENEX 2017, following last year's exhibition. Besides the energy saving device "Miracle Coil", new products such as a generator are also planned to exhibit. ============================== Venue: Tokyo Big Sight Date and time: Feb. 15(Wed.)-17(Fri.) 2017, 10: 00-17: 00 each day Details: http://www.low-cf.jp/index.html Booth Location: East 2 Hall 2P – 20 ============================== We have some invitations. Those who need invitations, please contact us from inquiries. We are looking forward to seeing you at our booth.
Copyright © ETE Ltd. All Rights Reserved.


text:
The Shelters
SiriusXM AltNation Advanced Placement, feat. The Hunna, The Shelters, Night Riots at Triple Rock, Minneapolis (07 Nov 2016)
The Hunna Setlist
We Could Be
Still Got Blood
Rock My Way
She's Casual
The Shelters Setlist
Surely Burn
Really Wanted You
Never Look Behind Ya
The Ghost is Gone
Lost Woman (The Yardbirds cover)
11/13/16 Somerville, MA Once Ballroom
11/15/16 Washington, DC U Street Music Hall
11/17/16 Philadelphia, PA The Foundry
11/18/16 Pittsburgh, PA Rex Theater
11/19/16 Charlotte, NC Charlotte's Underground
11/20/16 Nashville, TN Mercy Lounge
11/22/16 Atlanta, GA Terminal West
11/23/16 New Orleans, LA Parish
11/25/16 Dallas, TX Cambridge Room
11/26/16 Houston, TX Bronze Peacock
11/27/16 Austin, TX Antone's
11/29/16 Denver, CO Marquis Theater
11/30/16 Salt Lake City, UT Club Sound
12/08/16 107.5 Xtreme Holiday Havoc
The Hunna
When London's The Hunna first appeared in October 2015 with their debut single "Bonfire", it went viral - racking up over 1+ million Spotify streams and 5+ million video views. …
The Shelters are an upbeat indie rock band from L.A., and their track 'The Ghost is Gone' is a nice psychedelic blend of old school rock and droned out 90's wave. While listening to them from the balcony I glanced behind me and …
Also, Night Riots is also on the bill. We previously wrote about the band in 2015 and noted, "Howl is the new EP from California's Night Riots. The EP landed January 20th via Sumerian Records. …
The SiriusXM "AltNation Advanced Placement" show just came through town at the Triple Rock Social Club in Minneapolis on November 7th. The current November lineup features UK's The Hunna, with The Shelters, and Night Riots.
Opening up the show was Night Riots (singer Travis Hawley, guitarist Nick Fotinakes, guitarist Matt DePauw, bassist Mikel Van Kranenburg, and drummer Rico Rodriguez). We wrote about the San Luis Obispo-based band in 2015, when they were just releasing their EP Howl. Fast-forward a few years and now they're playing a national tour in support of their sophomore album Love Gloom (Sumerian Records). According to singer Travis Hawley the cover of their Love Gloom features his oddly misshapen hand.
The band ended their set with 'Contagious', which featured an extended double-drumming on two floor toms. It was incredibly fun to watch, and you can tell the band loves ending their set with this satisfying song.
Emerging Los Angeles-based rock band The Shelters (not to be confused with Shelter) was up next. We caught the band in April 2016 and wrote, "The Shelters absolutely blew me away last night. This four piece from Los Angeles not only had the most stylish hair out of all of the bands, but they also seemed to have the most to gain from this tour. These guys have not been around for that long and are currently trying to amp up the crowds for their upcoming release of Rebel Heart due out in June. I definitely think it worked because after their set I heard everyone in the packed crowd talking about how great they were."
The band actually features two main singers, Chase Simpson and Josh Jove (both guitarists), with the help of drummer Sebastian Harris and bassist Jacob Pillot. Of course, with their late night television appearance on "The Late Show with Stephen Colbert", the band was quick to mention their new hit single 'Rebel Heart' in the middle of their set.
Near the end of their set had some of their strongest performance. Starting with 'The Ghost is Gone' as it featured an extended jam session in the middle of the song. For their last song, a cover of The Yardbirds' 'Lost Woman' was played... but in a chaotic Shelters' style. It got so rough, that they actually lost a microphone (it flew off the stand), that Jove had to improvised and sang with Simpson's mic.
The Shelters' self-titled album is out now on Warner Bros. Records.
We've been meaning to check out UK's The Hunna since their appearance in Minneapolis earlier this June 2016. You can tell that the same fans that showed up June are back at the Triple Rock on Monday night. The fans all took selfies with the band (Ryan Potter, Dan Dorney, Jermaine Angin, Jack Metcalfe) ... who were more than happy to obligated with poses and always gracious to their fans.
Since the Hunna's debut single 'Bonfire' in October 2015, the four-piece has been rising in the iTunes and Spotify charts. Over 11 million video streams, thanks to support from US tastemakers like Consequence of Sound, NYLON, Billboard and more, it would seem that The Hunna could do no wrong.
As you can see from their setlist, they practically played their debut album 100 (300 Entertainment), including their first hit single 'Bonfire' (which, of course, they saved for last), 'She's Casual', and 'Piece by Piece'.
The Hunna, The Shelters, and Night Riots, all continues their SiriusXM "AltNation Advanced Placement" tour.
The Hunna at Triple Rock Social Club, Minneapolis (07 November 2016)
Posted by W♥M on Sunday, 13 November 2016 at 07:04 PM in Alt Nation, Minneapolis, Night Riots, SiriusXM, The Hunna, The Shelters, Triple Rock, Triple Rock Social Club, Vu | Permalink | Comments (0)
Minneapolis: November 7, 2016
Here are some shows taking place in the Minneapolis/St Paul area on November 7, 2016.
The fifth annual Brooklyn Electronic Music Festival is taking place this November 9th and 10th. Early bird tickets are available now. Early lineup announcement will include live sets from: Nicolas Jaar Gold Panda Jackmaster Photek ...
Monday, 11/07/16, 7:30pm ($20)
Critically acclaimed Chilean electronic artist and producer, but currently based in New York, Nicolas Jaar is currently on tour in American, supporting Sirens (available now on Other People label). If the name is familiar, you may recall that he headlined the Brooklyn Electronic Music Festival in 2012.
11/01 Vancouver, BC Commodore
11/05 Denver, CO Gothic Theatre
11/07 Minneapolis, MN First Avenue
11/11 Montreal, QC Theatre Berri
11/12 Providence, RI Columbus Theatre
11/13 Phila, PA Theatre of Living Arts
11/16 New York, NY Webster Hall
11/21 Cologne, Germany Ewerk
11/22 Munich, Germany Muffathalle
11/24 Milan, Italy Alcatraz
11/25 Turin, Italy Teatro Concordia
11/26 Strasbourg, France La Laiterie
11/28 Lille, France L'Areonef
11/30 Paris, France Trianon
12/01 Brussels, Belgium AB Hall
12/02 Utrecht, Netherlands Tivoli
12/03 Amsterdam, Netherlands Paradiso
12/05 Manchester, UK Granada TV Studios
12/06 London, UK Heaven
12/09 Berlin, Germany Columbiahalle
Hard Girls
Opening up the show was San Jose's Hard Girls. The trio (Morgan, Mike, and Max) played some punk rock songs from their latest A Thousand Surfaces (Asian Man Records) ... and in typical punk songs, many ...
Monday, 11/07/16, 7pm ($12.50)
New York's Jeff Rosenstock is headlining the 7th Street Entry in Minneapolis next Monday, November 7th.
Show up early to check out San Francisco's Hard Girls. We previous caught the trio with the Smiths Street Band in April 2016 and wrote, "All of the other bands sounded amazing last night. Both Hard Girls and Signals Midwest have earned a spot on my daily playlist due to absolutely killing it last night. The former band previously opened up for Say Anything in July 2015 and we described their songs as 'punk songs, many of these tracks were short bursts of energy.'"
Hard Girls is working on a forthcoming third LP, slated for 2017.
New York's Katie Ellen to open.
11/01/16 Houston, TX Walters Downtown
11/02/16 Austin, TX The Mohawk
11/06/16 Chicago, IL Beat Kitchen
11/09/16 Madison, WI The Sett
11/10/16 Detroit, MI The El Club
11/11/16 Cleveland Heights, OH Grog Shop
11/12/16 Ithaca, NY Community School
11/14/16 Providence, RI AS220
11/15/16 Cambridge, MA The Sinclair
11/16/16 Philadelphia, PA Philadelphia Mausoleum
11/17/16 Washington, DC DC9
11/18/16 Brooklyn, NY Market Hotel
Monday, 11/07/16, 7pm ($15)
The SiriusXM Presents Alt Nation's Advanced Placement Tour will be making a stop at the Triple Rock Social Club this Monday, November 7th. We previously caught another SiriusXM show earlier in February 2016 and can tell you that the bands are quite diverse... but all are eager to play for SirusXM's audience.
The new Alt Nation tour will feature headliners The Hunna. The London band previously headlined the 7th Street Entry in Minneapolis last June 2016.
The Shelters is also another artist featured. We previously caught the band in April 2016 and wrote, "The Shelters absolutely blew me away last night. This four piece from Los Angeles not only had the most stylish hair out of all of the bands, but they also seemed to have the most to gain from this tour."
Also, Night Riots is also on the bill. We previously wrote about the band in 2015 and noted, "Howl is the new EP from California's Night Riots. The EP landed January 20th via Sumerian Records. Howl was written while the band was touring in promotion of their 2013 EP release, Young Lore."
11/01/16 Santa Cruz, CA The Catalyst
11/03/16 Los Angeles, CA The Fonda Theatre
11/05/16 Detroit, MI Shelter
11/10/16 Toronto, ON Adelaide Hall
11/11/16 Montreal, QC La Sala Rossa
11/12/16 New York, NY Gramercy Theatre
Add in a killer rock band, and this concoction leaves you with one hell of a heavenly experience. That's what The Veils brought on the last night of Brighton's own Great Escape festival, and a holy setting it was indeed. …
BONUS: California...
at The Roxy (CA)
theroxy.com
We're big fans of The Veils here at W♥M, so the show at the Roxy in L.A. on November 7th should be nothing short of spectacular.
We covered them in 2013 when they played the Troubadour and again at the Great Escape Festival in Brighton, England. After they hit L.A. they go to Seattle, SF and Canada before heading to Europe. Their latest album Total Depravity is by far their most industrial and experimental album yet, so we're excited to see how this will change the live performance of Fin and his band.
Anthonie Tonnon to open.
11/07/16 West Hollywood, CA Roxy Theatre
11/09/16 San Francisco, CA Chapel
11/12/16 Seattle, WA Barboza
11/23/16 Berlin, Germany Bi Nuu
11/24/16 Amsterdam, Melkweg
11/25/16 Brussels, Belgium Orangerie
01/30/17 St. Jerome's Laneway Festival
Posted by W♥M on Tuesday, 01 November 2016 at 04:54 AM in Alt Nation, Hard Girls, Jeff Rosenstock, Katie Ellen, Minneapolis, Minneapolis Music Guide, Nicolas Jaar, Night Riots, SiriusXM, The Hunna, The Shelters, The Veils, Vu | Permalink | Comments (0)
The Wild Feathers at Varsity Theater, Minneapolis (12 April 2016)
Wild Feathers Setlist
Backwoods Company
Don't Ask Me to Change
Help Me Out
Goodbye Song
Happy Again
Got It Wrong
Hey Hey What Can I Do (Led Zeppelin cover)
Lonely is a Lifetime
Left My Woman
Into the Sun
The Ceiling
Hard Wind
With a Little Help From My Friends (The Beatles cover)
with The Shelters
Nashville's The Wild Feathers will be stopping by the Varsity Theater in Minneapolis next Tuesday, April 12th, in support of their sophomore album Lonely Is a Lifetime (Warner Bros Records). …
Hope Country
Opener Hope Country's singer Brent Johnson had a lot of good things to say about both Joseph and Judah, particularly how he didn't want to play after checking out their soundchecks. …
The name of the game on Tuesday night was Americana-Indie- Rock music from all over the country. The Wild Feathers of Tennessee joined The Shelters, from California, and Hope Country, from the Twin Cities on stage at The Varsity Theater in Dinkytown, Minneapolis for a night of great, eclectic music.
The Shelters absolutely blew me away last night. This four piece from Los Angeles not only had the most stylish hair out of all of the bands, but they also seemed to have the most to gain from this tour. These guys have not been around for that long and are currently trying to amp up the crowds for their upcoming release of Rebel Heart due out in June. I definitely think it worked because after their set I heard everyone in the packed crowd talking about how great they were.
So maybe it wasn't the most extreme music and maybe the crowd was super boring but The Shelters' music was more than enough to keep me interested. Unfortunately, their set was short due to, what I can only assume to be, lack of material but honestly, they didn't need much time to impress the crowd. Within the first song, I fell in love.
Their songs are definitely movie soundtrack worthy. What I mean is: you know during movies when the actors are doing mundane tasks like cleaning or driving but the music in the background makes it seem like the greatest cleaning session or the greatest drive of that character's life? That's what this music feels like. It's not heavy, not necessarily loud, not even necessarily exciting but it is so well written and well performed that you can't help but fall in love with it regardless of what scene you run in.
I have to be honest, the show started off super slow for me. Hope Country was the local support for this show and they were a straight up country band. I have nothing against the musicians that were on stage and they did what they do extremely well but I just was not in the mood for it. At first I thought they were a weird fit for the bill. I mean, the other two bands that played were much less country and much more indie but it was nice to not have a night of all the same music.
The Wild Feathers were the headliners of the show and had the crowd in the palm of their hand. These guys sounded a lot like The Shelters but had a completely different feel. They had a more laidback/ country twang to them than The Shelters but still had the energy and professionalism that you would want at a show like this.
Their set had a great mix of fast and slow songs. The three members that sang vocals (Ricky, Ben, and Joel) all had three very distinctive voices when singing alone but as soon as they sang together, it gave me the chills. It came together like magic and all of a sudden you couldn't help but to let yourself get lost in the beauty of the vocal work. Usually these guys are a quartet of just guitars, bass, drums and vocals but last night they had a keyboard player with them. I have to say, I loved having that keyboard. I think it gave their music an extra level of complexity and was the icing on the cake.
The thing I loved the most about this band? They had influences that stretched all over the map much like the three vocalists' ranges but somehow they were able to mix them all together and come up with a beautiful thing. At times you could feel the blues influence during a guitar solo but as soon as the vocals started up, you got a little country twang. There were times where I thought I was at a good old fashioned rock show but then in the next minute I felt like I was in an auditorium listening to a great old timey bluegrass band.
The Wild Feathers recently released Lonely Is A Lifetime on Warner Bros. Records.
Remaining dates:
04/15 Chicago, IL Bottom Lounge
04/16 Madison, WI Majestic Theater
04/17 Indianapolis, IN The Hi-Fi
04/19 Columbus, OH The A&R Music Bar
04/21 Toronto, ON Lee's Palace
04/22 Albany, NY The Hollow
04/23 Burlington, VT Higher Ground
04/24 Portland, ME Port City Music Hall
04/26 Providence, RI Fete Lounge
04/28 New York, NY Bowery Ballroom
04/29 Boston, MA Brighton Music Hall
04/30 Philadelphia, PA The Foundry at The Fillmore
05/01 Washington, DC U Street Music Hall
05/03 Atlanta, GA Terminal West
Posted by W♥M on Friday, 15 April 2016 at 03:00 PM in Hope Country, Langen, The Shelters, The Wild Feathers, Varsity Theater | Permalink | Comments (0)
Minneapolis: April 11 to April 12, 2016
Here are some shows taking place in the Minneapolis/St Paul area from April 11 to April 12, 2016.
First released in 2000, the legendary electronic album Tourist by veteran French DJ and producer St Germain (Ludovic Navarre) has been digitally remastered (44kHz/24bit) for reissue on CD …
at The Fitzgerald
Monday, 04/11/16, 7:30pm ($32.50-$50)
fitzgeraldtheater.publicradio.org
St Germain (aka Ludovic Navarre) is a French musician/DJ who sold over 1 million copies of his debut Boulevard in 1995. His US debut album Tourist came out in 2000. St Germain is back in the USA for Coachella and decided to book some dates before and around the massive festival... including a stop at the Fitzgerald Theater in St Paul this Monday, April 11th.
04/09/16 Detroit, MI Fillmore Detroit
04/10/16 Chicago, IL Vic Theatre
04/11/16 Saint Paul, MN Fitzgerald Theater
04/15/16 Coachella Valley Music & Arts Festival
04/16/16 San Francisco, CA Mezzanine
04/21/16 Los Angeles, CA The Fonda
07/15/16 Ghent Jazz Festival
Cities 97 presents Nashville's The Wild Feathers show at the Varsity Theater in Minneapolis on Thursday, November 16th... along with The Apache Relay, who previously played with Jenny Lewis (08/03) and at Trampled …
Tuesday, 04/12/16, 7pm ($17.50/$20)
Nashville's The Wild Feathers will be stopping by the Varsity Theater in Minneapolis next Tuesday, April 12th, in support of their sophomore album Lonely Is a Lifetime (Warner Bros Records).
Special guests The Shelters to open. We previously mentioned that the Shelters opened up for the Struts at the Troubadour (14 Oct 2015) and wrote that Tom Petty was a fan: "The Shelters are an upbeat indie rock band from L.A., and their track 'The Ghost is Gone' is a nice psychedelic blend of old school rock and droned out 90's wave. While listening to them from the balcony I glanced behind me and noticed Tom Petty bobbing his head and clapping his hands while the guitarist did a solo. Legends eyeing potential legends, ya dig?"
04/09 Salt Lake City, UT State Room
04/11 Kansas City, MO Riot Room
04/13 Milwaukee, WI The Rave II
04/30 Philadelphia, PA Foundry at The Fillmore
06/25 Nashville, TN The Ryman Auditorium
Teddy Thompson
Teddy Thompson's eponymous debut album manages to blend the sound of his parents - British folk-rock legends Richard & Linda Thompson - with the stamp of his own acoustic pop. Written by Thompson and produced by singer/songwriter …
TEDDY THOMPSON & KELLY JONES
Teddy Thompson and Kelly Jones (a girl singer, not to be confused with Kelly Jones from Stereophonics or comic book artist Kelley Jones) recently released their duet collaboration album Little Windows on Cooking Vinyl. The pair will tour in support of the album, which The Associated Press called "Terrific" and Pop Matters said "Teddy Thompson is one of the best living hopes for contemporary music ... Thompson, Jones and their collaborators have given us a round of tunes that aren't already classics but are certainly destined to be."
The two met a George Jones track at LA's Club Largo in 2011 and developed a bi-coastal musical relationship (she in Los Angeles, he in New York City) that helped spawn the album Little Windows.
Local singer/songwriter Sarah Morris (with band) to open.
Teddy Thompson & Kelly Jones On Tour:
April 9th - Canton, CT - Roaring Brook Concert
April 11th - Evanston, IL - SPACE
April 12th - Minneapolis, MN - Cedar Cultural Center
April 30th - Cork - Cyprus Avenue
May 1st - Kilkenny - Roots Festival
May 2nd - Belfast - Black Box
May 4th - Birmingham - Glee Club
May 5th - Bury St Edmunds - Apex
May 6th - Coventry - Warwick Arts
May 7th - London - Union Chapel
May 10th - Sheffield - City Hall Memorial Hall
May 11th - Gateshead - Sage
May 12th - Leeds - Howard Assembly Rooms
May 14th - Norich - Norfolk & Norwich Festival
May 15th - Nottingham - Glee Club
May 16th - Milton Keynes - The Stables
May 17th - Bristol - Colston Hall/Lantern
May 21st - Pocklington - Arts Centre
May 23rd - Exeter - Phoenix
May 26th - Liverpool - Liverpool Philharmonic
May 27th - Edinburgh - Queen's Hall
May 28th - Manchester - Royal Northern College
Peter Murphy is an English musician best known as the vocalist for Bauhaus. He went on to have a lengthy solo career, having released eight studio albums since 1986 ... …
Tuesday, 04/12/16, 8pm ($25/$30)
For a long time, the Godfather of Goth, Peter Murphy (of Bauhaus fame) retired from playing live - so we were pretty excited to have caught him doing two rare performances in Los Angeles (Peter Murphy Halloween Ball 2012 and Miracula Halloween).... So, imagine our surprise when we found out that he is actually currently on a national tour - stopping by Minneapolis' Mill City Nights this April 12th as part of a "stripped" tour.
04/08/16 Garden City, ID Visual Arts Collective
04/10/16 Englewood, CO Gothic Theatre
04/13/16 Milwaukee, WI Turner Hall Ballroom
04/14/16 Chicago, IL Thalia Hall
04/15/16 London, ON London Music Hall
04/16/16 Toronto, ON Mod Club
04/17/16 Lancaster, PA Chameleon
04/19/16 Boston, MA Royale Nightclub Boston
04/21/16 New York, NY Le Poisson Rouge
04/23/16 Falls Church, VA State Theatre
04/25/16 Nashville, TN City Winery Nashville
04/26/16 New Orleans, LA House Of Blues
04/27/16 Dallas, TX Kessler Theater
04/28/16 Austin, TX The North Door
04/29/16 McAllen, TX Yerberia Cultura
04/30/16 San Antonio, TX The Korova
05/03/16 Phoenix, AZ The Crescent Ballroom
05/04/16 Los Angeles, CA The Regent Theater
05/05/16 Mexico City, Mexico Teatro Metropolitan
05/06/16 Guadalajara, Mexico C3
05/16/16 Lisbon, Portugal Aula Magna
05/17/16 Oporto, Portugal Casa da Musica
05/18/16 London O2 Academy Islington
Posted by W♥M on Friday, 08 April 2016 at 07:55 PM in Bauhaus, Goth, Kelly Jones, Minneapolis, Minneapolis Music Guide, Peter Murphy, Sarah Morris, St Germain, Teddy Thompson, The Shelters, The Wild Feathers, Vu | Permalink | Comments (0)
The Struts at Troubadour, West Hollywood (14 October 2015)
10/17 Woodlands, TX KTBZ-FM Buzzfest
10/19 Atlanta, GA Earl
10/20 Charlottesville, VA Southern
10/21 Washington, DC Rock & Roll Hotel
10/24 Philadelphia, PA Foundry
10/25 Boston, MA Sinclair
10/26 Buffalo, NY Iron Works
10/28 Nashville, TN High Watt
10/29 St. Louis, MO Blueberry Hill
10/31 New Orleans, LA Voodoo Music
11/01 Dallas, TX Club Dada
11/02 Austin, TX Stubb's BBQ
11/04 Colorado Springs, CO Black Sheep
11/05 Denver, CO Marquis Theatre
11/08 Vancouver, BC Venue
11/09 Seattle, WA Crocodile
11/10 Portland, OR Crystal Ballroom
11/11 Reno, NV Knitting Factory
11/13 Scottsdale, AZ Pub Rock
11/14 Las Vegas, NV Hard Rock Live
11/27 Toronto, ON Adelaide Hall
11/29 Wilkes-Barre, PA Chandelier Lobby
12/01 Norfolk, VA Norva
12/02 Richmond, VA National
12/06 Maplewood, MN The Myth
12/07 KPNT 105.7 The Point's Ho Ho Show
12/09 How The Edge Stole Christmas
Breakout U.K. band The Struts will be stopping by First Avenue this September 17th, in support of their hit Have You Heard EP (Interscope Records), with single "Could Have Been Me". …
A band comes along every now and then that has the ability to shock and shake you. There's just something about them that draws you in and sends you into a transcendental state of blissed-out musical euphoria. Most of the time these said bands are going to be from Britain (hey, you know it's true). Glam-rock-indie band The Struts, from Derby, England, have been gaining some impressive momentum with their first full-length album Everybody Wants, and now they're touring the country promoting their US debut EP 'Have You Heard'. This past Wednesday they took the stage at the Troubadour here in L.A., with native band The Shelters opening. Relevant to the hype of this amazingly dynamic foursome, this particular Struts show sold out hours after tickets went on sale.
The Troubadour is the Mecca for intimate shows and quintessential rock 'n' roll vibes. It's a low-key venue where musicians and industry people go to give a nod and get introduced to outrageous talent- new and old. The Shelters are an upbeat indie rock band from L.A., and their track 'The Ghost is Gone' is a nice psychedelic blend of old school rock and droned out 90's wave. While listening to them from the balcony I glanced behind me and noticed Tom Petty bobbing his head and clapping his hands while the guitarist did a solo. Legends eyeing potential legends, ya dig?
While the stage was being set up for The Struts I ran downstairs to get a good spot on the floor. Looking up I noticed that backstage (which is actually just an upstairs with thin little curtains in plain view of the audience) you could see the band having a little photo shoot and jumping around the room, perhaps getting out any last-minute jitters before the performance. The lights dim and the crowd starts to get amped, and while rainbow-colored lights hit the stage, the theme song from The Neverending Story starts and sends a chill of nostalgia over the room... while also sending a message loud and clear that we're in for a special and intoxicatingly entertaining treat.
The crowd packs in closer to the stage as the theme song ends and the room goes quiet. Finally Adam Slack (guitar), Jed Elliott (bass), and Gethin Davies (drums) race down the stairs and hop on their instruments. Moments later frontman Luke Spiller rushes the stage donned in an oversized glistening tunic and black shiny pants. These guys have the chemistry of The Beatles with the stage presence of Zeppelin to boot. They go right into 'Roll Up', with Luke howling into the mic "Now, whatever I wear, it's gotta have flare, so you people can stare...Everybody wants, everybody wants, roll up, roll up, roll up for satisfaction." The whole band is smiling and having the time of their lives, and they leave caution to the smoky haze that fills their set. Their sound may be smart and fundamental enough for massive radio play, but they carry textures of uplifting rock 'n' roll tunes that hold true to that raw, uncut kind of feeling. "Los Angeles, can you dance?" Luke inquires to a sea of admiring fans. "Can you sing?" He continues on to conduct a yelling contest from opposite sides of the crowd. The energy is through the roof and Luke is dripping golden glitter. "Glitter in the eyes, I don't recommend it."
Next up the band goes into their massive hit 'Could Have Been Me'. This song is about going after your dreams and never giving up, and it is an instant crowd pleaser. There's a difference between pretentious egomaniacs who just want attention and the true soul of Rock Gods. Rock Gods have a way of connecting with people, of energizing their audience in a way that turns it into a universal feeling; making it about humanity. The Struts, though a rather young band, seem to have mastered this in that they are immensely generous to their fans. Must be one of the reasons they opened for The Rolling Stones last year in Paris (where their following is HUGE). This band is flawless and seems to have been playing together for much longer than 3 years. Baby-faced Adam is a killer guitar player and shined in his solo on their next song 'Kiss This'. Again, Luke encouraged the audience to sing along with him, and we gladly complied. "When I say jump, you fucking jump!" This kid is a riot, and I believe he was born to galvanize the music world.
Think David Bowie in The Labyrinth meets Lou Reed meets Freddie Mercury....
After a quick wardrobe change Luke returns wearing a fringed black cape ensemble (this guy's got incredible style, and is creating his own brand of clothing called Beautifully Strange). Think David Bowie in The Labyrinth meets Lou Reed meets Freddie Mercury. "There's a thunderstorm outside...and we wanna bring it in here!" He proceeds to get the people on the floor and sing with him "Na Na Na Na ooooo Na Na Na" and the likes of that for about 10 minutes. Talk about up close and personal... it really made me feel like I was back in elementary school at recess with a really rad group of playmates. These guys are making live shows fun again, and if anyone can make the known-to-be-stuffy crowd of Angelinos get on the floor and sing for a while, well, bravo...that's a grand feet in and of itself.
"When we found out we sold out this legendary venue, our breaths were taken away." Luke tells the crowd near the end of the show. He's a mover and a shaker, and the rest of the band seems to recharge his batteries more and more with every song. It was a soaring ball of fire and fun for the entire night, and I truly wanted it to be endless. But alas, all good things must come to an end, but The Struts assured us they would be back soon, and with new material. They ended the night with the catchy rebel tune 'Put Your Money on Me.' After the show Adam told me they'd be back in February (Yay). With shows like these, I guess they won't ever have to look back and say it "Could Have Been Me". (I'm sorry, I had to.)
jess ♥ weheartmusic.com ♥ twitter.com/weheartmusic
Posted by W♥M on Saturday, 17 October 2015 at 05:45 AM in Jess, Los Angeles, The Shelters, The Struts, Tom Petty, Troubadour, West Hollywood | Permalink | Comments (0)


Doing the right thing can be difficult. But true stories of great individuals and organizations teach us about succeeding through persistence, cooperation, friendship, and more. From past to present, these books present real-life role models who relied on their social emotional skills to achieve great things. The text encourages readers to reflect on their own values and form opinions, shows them how to enact the title traits in future careers, and offers ways students can use social skills and embody empathy in their daily lives.
Gr 4–6—Positive behavioral growth is a vital aspect of healthy character development among kids and one that is often overlooked in a formal capacity in school curricula. This series fills that role. Readers are first presented with a thought-provoking discussion on what each topic means, followed by detailed accounts of their expression. Inspirational stories feature a variety of people, situations, and locales, past and present, with varying degrees of popularity. Text boxes encourage pupils to reflect on these characteristics and apply them in their daily interactions. This is a valuable examination of character building with many academic uses for fostering communication and discussion. However, Diversity is a bit of an outlier in that it is not about a trait like the other books. The people profiled in this volume are also puzzling (Gandhi, Mother Teresa). VERDICT A useful tool for social emotional learning collections.


These are generative digital art images (or "dynamic paintings"); they change constantly whilst keeping a composition.
You can popup a player for the generative Ambient album "Light" by Christopher Sisk - which I think works beautifully here. and have it playing along with these images.
Robert Rich's deeply evocative ambient music can be played with his popup player.
On some of these works you will see audio controls for my choice of music (selected from BandCamp).
Lots of ambience by Eno , Budd , 12k, Robert Rich , etc.
As featured on The Gatherings concert of 19th April 2018: my video take on Robert Rich / Markus Reuter's "Lift a Feather to the Flood"
San Base - a Canada-based digital artist producing surreal, enigmatic and calming dynamic paintings.
Why - Art for Waiting Rooms?
Much that's intriguing in art and music can emerge from combining rich elements with a guide but not a goal. Like evolution, if there is a diverse "ecosystem" and someone or something selecting the best combinations, then the best of the unexpected can emerge.
I've been experimenting with processes to combine images, for a long time. Starting with a few photographs or drawings, I set the layout, kick the process off, and see the millions of combinations emerge. I take the more promising results, treat them and save them - or put them back as new raw material.
All those waiting-room displays, with advertisements: couldn't they instead show a dynamic painting, one that always changes, but is always interesting and, like a sky- or cloud-scape, always familiar?
Please enjoy and feel free to comment and get in touch.
Go to a Slow Painting... (Or just wait to be taken there. Click on any painting to randomly reload). And I recommend you take a look at the Electric Objects EO1 digital art panel: these works are designed to be displayed on it.


text:
\section{Introduction}

	With an ever-increasing demand for greater bandwidths and speeds in wireless information transfer, free-space optical communication offers a promising solution with superior bandwidth \cite{borah2012review, khalighi2014survey}, where information can be encoded in various optical degrees of freedom such as time, wavelength, polarization, phase, and space. From the latter, orbital angular momentum (OAM) \cite{yao2011orbital}, which denotes helical wavefronts with discrete and orthogonal azimuthal modes, can function as an excellent information carrier for free-space optical communication \cite{gibson2004free, molina2007twisted}. With a potentially infinite Hilbert space for spatial-mode division multiplexing, OAM-based free-space communication has attracted significant interest in recent years for both classical and quantum-encrypted information processing \cite{willner2015optical, willner2017recent, erhard2018twisted}.

	Although significant advances have been made in OAM-based communication, a major obstacle is that OAM beams are very fragile under perturbations to their complex wavefronts. One typical effect is atmospheric turbulence (AT), which has been shown to be a dominant factor in limiting the distance and capacity of OAM-based free-space communication \cite{tyler2009influence, rodenburg2012influence, ren2013atmospheric}. In the past decade, significant efforts have been devoted to mitigate the impact of AT \cite{malik2012influence, ren2014adaptive, krenn2014communication, li2014evaluation, ren2014adaptive2, ren2016atmospheric, lavery2017free, li2018atmospheric, li2018joint, yan2018controlling, liu2019single}. Current approaches are primarily based upon either adaptive optics to correct/compensate wavefront error or digital signal processing to reduce channel crosstalk \cite{willner2015optical, li2018atmospheric}, both of which unfortunately exhibit limited performance. To date, AT-induced degradation remains a critical challenge for OAM-based free-space communication.

	Here we propose and demonstrate a combined encoding and decoding solution to address the AT problem. Instead of using the OAM modes $\ell$ solely as information carriers \cite{willner2015optical}, we propose using the OAM azimuthal mode phase-shift $\Delta\ell$ for keying, which is robust to AT-induced phase perturbations. Further, to bypass the effect of AT-induced intensity fluctuations, we propose a digital holographic approach for measuring $\Delta\ell$ from only spatial phase information. We show, both numerically and experimentally, that the proposed approach is able to significantly improve signal-to-noise ratios and suppress OAM channel crosstalk. By resolving the challenge imposed by atmospheric turbulence, this approach may enable more useful and interesting schemes for OAM free-space optical communication.

	\section{Concept}

	\subsection{OAM azimuthal phase-shift keying (OAM-APSK)}

	\begin{figure*}
		\centering
		\includegraphics[width=1\linewidth]{Figs/oam-dapsk}
		\caption[]{Conceptual illustration of the proposed OAM azimuthal phase-shift keying (OAM-APSK). a) The information is encoded as the azimuthal mode difference, $\Delta\ell = \ell(t_n) - \ell(t_{n-1})$, of consecutive pulses separated by the slot time $T_b$; different values of $\Delta\ell$ count as unique bits (0, +1, -1). b) Physical implementation of the OAM-APSK encoding, used only to show the fundamental operation principle. A more practical example, which can utilize the full power of the laser source, is provided in Appendix Section IV. EOM gate: electro-optic modulation gate; BS: beam splitter.}
		\label{fig:1}
	\end{figure*}

	The major problem of AT lies in the spatiotemporally-dependent refractive index fluctuations introduced by turbulent eddies along the path where an OAM beam propagates, imposing random phase fluctuations on OAM beam wavefronts. Our proposed approach recognizes and leverages the fact that AT fluctuates on a time scale ($\sim$ milliseconds \cite{andrews2005laser}) much longer than the slot time $T_b$ of a communication bit (\emph{e.g.}, $T_b=$ 100~ps for a bit rate of 10~Gb/s). As a result, optical pulses in adjacent time slots would experience exactly the same phase fluctuations when they propagate through AT. We thus propose an encoding scheme for OAM-based free-space communication, whose operational principle is schematically shown in Fig.~\ref{fig:1}(a).

	The optical pulses in each time slot exhibit the same amplitude profile $A_0(t-nT_b)$ but carry a certain OAM azimuthal charge $\ell(n)$ (where $n$ is an integer denoting the time slot number): $E_n(t,\theta) = A_0(t-nT_b)\exp[i\ell(n) \theta]$. Here $\ell(n)$ exhibits two values, $\ell(n) =$ $\ell_1$ or $\ell_2$, and $\theta$ is the azimuthal angle. Information is encoded in the OAM azimuthal charge difference, $\Delta \ell(n) = \ell(n) - \ell({n-1})$, between adjacent optical pulses, where $\Delta \ell(n) = 0$ represents bit "0" and $\Delta \ell(n) = \pm(\ell_2 - \ell_1)$ represents bit "$\pm$1" (or $|\Delta \ell(n)| = 1$ denotes bit "1"). These encoded bits are clearly shown via the two-pulse interference:
	\begin{eqnarray}
	&& \left|E_n(t,\theta) + E_{n-1}(t, \theta)\right|^2 \nonumber\\
	&& = 2 |A_0(t-nT_b)|^2 \left(1+ \cos\{[\ell(n) - \ell({n-1})]\theta\}\right)
	\label{En_Inter}.
	\end{eqnarray}

	Since bits are encoded in the azimuthal phase difference between adjacent pulses, we term this encoding scheme as azimuthal phase-shift keying (APSK). APSK is similar to the differential phase-shift keying (DPSK) scheme used in fiber-optic communication \cite{agrawal2012fiber}, but the information is carried in the relative OAM degree of freedom rather than in the relative phase of pulses.

	When optical pulses propagate through AT, the latter imposes a random phase front $\exp[i \phi_{\rm AT}(t,x,y)]$ and the optical field becomes $E_n(t,\theta) \approx A_0(t-nT_b)\exp[i\ell(n) \theta] \exp[i \phi_{\rm AT}(t,x,y)]$. Since AT-induced fluctuations remain nearly static within a small time period $T_b$, $\phi_{\rm AT}(t,x,y) \approx \phi_{\rm AT}(t-T_b,x,y)$ for any adjacent optical pulses, and Eq.~(\ref{En_Inter}) remains intact. Clearly APSK is intrinsically immune to AT-induced phase perturbations.

	In practice, OAM-APSK can be realized via a simple setup such as that shown in Fig.~\ref{fig:1}(b), where a laser is equally split into two paths, each of which is equipped with 1) a phase mask for imposing an OAM wavefront and 2) an amplitude modulator functioning as a gate. Within each time slot, only one gate is open to produce an optical pulse with a desired OAM. By using a digital communication signal to drive the electro-optic gates in each path, we will be able to produce a sequence of APSK optical pulses as shown in Fig.~\ref{fig:1}(a). This approach supports high-speed information encoding, whose speed depends only on the electro-optic gating.

	\subsection{Digital holographic mode sorting (DHMS)}
	\begin{figure*}
		\centering
		\includegraphics[width=1\linewidth]{Figs/oamdh-concept-a}
		\caption[]{Conceptual illustration of the proposed digital holographic mode sorting (DHMS) method for decoding an OAM-APSK signal. a) Atmospheric turbulence distorts the spatial information encoded in OAM modes $\ell_1$ and $\ell_2$ before the delay compensation. b) Delayed beams interfere at the detector, which records intensity as a digital hologram due to an initial tilt $\eta$ in one beam. We then take a fast Fourier transform (FFT) of the data and use the spectrum for sorting through OAM modes (DHMS) for values of $\Delta\ell = \ell_2 - \ell_1$.}
		\label{fig:2}
	\end{figure*}

	\begin{figure*}
		\centering
		\includegraphics[width=\linewidth]{Figs/oamdh-flow-c}
		\caption[]{Example of a numerical simulation showing the effect of DHMS. a) Phase distributions of two OAM beams with modes $\ell_1 = 0$ and $\ell_2 = 8$, and their intensity profiles after propagating through simulated AT  (strength factor $D/r_0 \sim 10$). b) Holographic interference pattern at the camera, its angular spectrum, and the amplitude/phase of the spectral fields $\gamma_+$ and $\gamma_-$. c) The phase $\phi_{\Gamma}$ of $\gamma_+ \gamma_-^*$ and the filtered field $\Gamma \equiv \Gamma_0 \exp(i\phi_{\Gamma})$ after sampling with the filter function $\Gamma_0$. The two dashed curves in the figure of $\phi_\Gamma$ are used to indicate the annular section with negligible AT perturbations. d) Real/imaginary parts of the products between $\Gamma$ and several OAM basis functions $\Psi_{\ell} = \exp(i\ell\theta)$, and the results of mode sorting via integration, where $I_{\ell} = \left| \int \Gamma \Psi_{\ell}^* \right|$. DHMS yields a peak for the $\Psi_{\ell}^*$ that corresponds to twice the mode difference $\Delta\ell$, i.e.~here  $I_{2\Delta\ell} = I_{16}$ yields a peak at the APSK signal $\Delta\ell = \ell_2 - \ell_1 = 8$.}
		\label{fig:3}
	\end{figure*}

	The APSK scheme described above is able to address the impact of phase fluctuations. However, for sufficiently long propagation distance or strong enough turbulence, phase fluctuations will be transferred to intensity fluctuations, a phenomenon also known as scintillation \cite{johansson1994simulation, mabena2019optical}, which cannot be solved by the APSK interference itself. To resolve this issue, we propose a digital holographic approach for sorting (DHMS) and decoding the OAM-APSK signal. Digital holography is a well-known technique used in imaging applications for obtaining a faithful measurement of the phase or complex amplitude of a scattered light-field \cite{mann2005high, kemper2008digital, merola2017tomographic}. Recently, it has been used for improving free-space imaging across turbulent media \cite{marron2009atmospheric, kim2012adaptive, banet2018digital}, and these developments inspired us to use digital holography in OAM-APSK for AT compensation.

	Figure~\ref{fig:2} shows the proposed holographic decoding scheme. At the receiver end of an OAM-APSK link the signal beam is equally split into two paths, where one path is delayed by the slot time $T_b$. The two beams are then projected onto a camera which records their interference pattern, where one beam is tilted at an angle $\eta$ with respect to the other. As a result, the angular spectrum of the recorded interference pattern will be distributed over three different regions: one around zero-frequency with a spectral amplitude of $\gamma_0(k_x,k_y)$, and the other two around spatial frequencies of $\pm k\sin\eta$ with spectral amplitudes of $\gamma_{\pm}(k_x,k_y)$, where $k_x$ and $k_y$ are the spatial frequency coordinates. Since the recorded OAM interference carries the APSK mode $\Delta\ell$, both non-zero frequency spectral regions $\gamma_{\pm}$ also carry the modes $\pm\Delta\ell$ (one is the sign-inverted complex conjugate of the other). Consequently, the product $\gamma_+\gamma_-^*$ carries the APSK signal $2 \Delta \ell \theta$. Interestingly, it turns out that AT-induced fluctuations are dramatically suppressed in the \textit{phase} of $\gamma_{+}\gamma_{-}^*$,
	\begin{equation}
	\phi_{\Gamma} = \arg\{\gamma_+\gamma_-^*\}.
	\end{equation}
	For obtaining this final result, we provide a detailed theoretical walk-through in Appendix Section I.

	\section{Simulation}

	To show the effect of the proposed APSK-DHMS, we performed detailed numerical simulations. For simulating AT, we used the modified von-Karman power spectrum \cite{lutomirski1971wave}:
	\begin{equation}
	\widetilde{\phi}_{\mathrm{AT}}(k) = 0.49 r_0 ^{-5/3} \frac{e^{-k^2/k_m^2}}{(k^2 + k_0^2)^{11/6}}, \label{Phi}
	\end{equation}
	where $k$ is the spatial frequency magnitude $k = (k_x^2 + k_y^2)^{1/2}$, $r_0$ is the Fried coherence diameter, and $k_m$ and $k_0$ represent the inner and outer scale frequency, respectively (the latter two are related to the inner and outer scale constants $l_0$ and $L_0$ as $k_m = 5.92 \times 2\pi/l_0$ and $k_0 = 2\pi/L_0$). To cover a wide noise bandwidth, we set $l_0$ and $L_0$ respectively as 0.01 and 100 times $L$, where $L$ is 5 cm. Using the Fourier transform method, $\widetilde{\phi}_{\rm AT}$ is used to produce the AT phase $\phi_{\rm AT}(x,y)$ \cite{mcglamery1976computer}, and in all simulations we implement $\phi_{\mathrm{AT}}$ as a single thin phase screen. More details on both our AT model and the simulation flow are given in Appendix Section II.

	Figure~\ref{fig:3} shows an example simulation where two beams carry OAM modes of $\ell_1 =0$ and $\ell_2 =8$. After propagation through AT, both field amplitudes are significantly distorted [Fig.~\ref{fig:3}(a)]. As a result, the recorded digital hologram shows a noisy interference pattern, from which it is difficult to extract the OAM charge difference between the two beams [Fig.~\ref{fig:3}(b)]. Since one beam was tilted at an angle of 0.186$^\mathrm{\circ}$ (determined by the wavelength and grid dimensions), the hologram spectrum clearly shows three separate regions, of which $\gamma_+$ and $\gamma_-$ still exhibit noise in their amplitude and phase. However, as shown in Fig.~\ref{fig:3}(c), $\phi_{\Gamma}$ has a clean azimuthal pattern around an annular section with negligible AT perturbations. Therefore, by filtering out this phase section (say, by multiplying with an annular profile $\Gamma_0$ shown in Fig.~\ref{fig:3}(c)), we obtain the clean field $\Gamma \equiv \Gamma_0 \exp(i\phi_{\Gamma})$, which clearly recovers the desired phase distribution of $2 \Delta \ell \theta$. To quantify the signal purity for an OAM mode $\ell$ or $\Delta\ell$, we perform \textit{conjugate mode sorting} \cite{gibson2004free} and calculate the normalized inner product $I_{\ell}$:
	\begin{equation}
	I_{\ell} = \left<\Gamma|\Psi_{\ell}^*\right> = \left| \int \Gamma \Psi_{\ell}^* \right|,
	\label{eq:dhms}
	\end{equation}
	where $\Psi_{\ell}$ denotes an OAM basis state $\exp(i \ell \theta)$. Fig.~\ref{fig:3}(d) shows the mode sorting amplitudes, where we accurately retrieve the signal $\Delta\ell = \ell_2-\ell_1$. Having obtained this result while accumulating only a negligible amount of modal crosstalk, this example simulation clearly shows the effectiveness of DHMS.

	\begin{figure}
		[b!]
		\centering
		\includegraphics[width=1\linewidth]{Figs/oamvsdr0-ex}
		\caption[]{Crosstalk matrix simulations of APSK-DHMS versus the turbulence strength parameter $D/r_0$. The right column shows the result for APSK-DHMS and the left one shows that for conventional mode sorting as a comparison. The cases for three different OAM mode pairs, $(\ell_1,\ell_2) = \{(0,2),(0,6),(0,18)\}$, are shown in (a)-(b), (c)-(d), and (e)-(f), respectively. Color maps represent the amplitude (normalized for each row) of decoded OAM mode signals after either conventional sorting (red in a, c, e) or DHMS (blue in b, d, f). (g) and (h) plot the mode-specific power $\left<s_\Delta\right>$ as a function of $D/r_0$, for the case of $(\ell_1,\ell_2) = (0, 2)$. $\left<s_\Delta\right>$ was averaged over 100 DHMS simulations, and log-polynomial curves were fitted to the results for $\Delta = \{0, 1, 2, 3, 4, 5, 6\}$ (See Appendix Section II for fitting details).}
		\label{fig:4}
	\end{figure}

	To further emphasize the validity of APSK-DHMS, in Fig.~\ref{fig:4}(a-f) we plot the DHMS amplitudes versus different AT strengths and compare them side-by-side with conventional conjugate mode sorting \cite{gibson2004free} amplitudes. The latter is calculated using Eq.~(\ref{eq:dhms}), but $\Gamma$ is replaced by the complex electric field that carries OAM mode $\ell_2$ (right before this field interferes with the $\ell_1$ field and the DHMS hologram is recorded). Also, in order to make a direct comparison between conventional sorting modes $\ell$ and the DHMS azimuthal-phase shift $\Delta\ell$, we set $\ell_1 = 0$ in these simulations such that $\Delta\ell = \ell_2-\ell_1 = \ell_2$. In this way, three different cases of OAM mode pairs ($\ell_1, \ell_2$) are simulated in order to compare the performance of DHMS between low and high frequency azimuthal modes. For each case, AT strength is quantified by the ratio $D/r_0$ of the source aperture diameter $D$ to the Fried coherence diameter $r_0$, where $D/r_0$ varies between 0.01 and 100.\clearpage

	\begin{figure}
		[b!]
		\centering
		\includegraphics[width=1\linewidth]{Figs/snrxtp}
		\caption[]{Simulation results of a) crosstalk level or percentage (XTP) and b) signal-to-noise ratio (SNR) versus $D/r_0$ for three OAM mode pairs, $(\ell_1,\ell_2) = \{(0,2), (0,6), (0,18)\}$. Log-polynomial curves were fitted to ensemble averages from 100 SNR and 100 XTP simulations (see Appendix Section II for fitting details).}
		\label{fig:5}
	\end{figure}

	For the (0, 2) case in Figure \ref{fig:4}(a, b), the mode signal peak appears at $\Delta\ell = \ell = 2$ in both the DHMS and conventionally sorted results. While for conventional sorting the peak begins wavering at $D/r_0 \sim 15$, in the DHMS scenario this peak does not waver at all even for $D/r_0 \sim 100$. Further, the crosstalk (or power carried by non-signal OAM modes) for the conventional sorting scenario increases starting at $D/r_0 \sim 5$ [Fig.~\ref{fig:4}(a)], but there is little crosstalk throughout the entire $D/r_0$ range in the DHMS scenario [Fig.~\ref{fig:4}(b)]. Similar results are evident for the (0, 6) and (0, 18) cases, while there is slightly more crosstalk in the DHMS results at intermediate $D/r_0$ levels $\sim 8$ [Fig.~\ref{fig:4}(d, f)]. Overall, these simulations show that the proposed APSK-DHMS combination, as opposed to conventional mode sorting, is robust to even extreme levels of turbulence and significantly minimizes crosstalk for a wide range of OAM modes.

	In order to take a closer look at crosstalk matrix simulations, we analyze the parameter $\left<s_{\Delta}\right>$, defined as the ensemble average (over 100 simulations) of power detected in the OAM mode $\Psi_{\ell + \Delta}$, where $\Delta$ is an integer step in the mode index $\ell$ \cite{tyler2009influence}. Specifically, $\left<s_{\Delta = 0}\right>$ denotes the power-normalized \textit{mode purity} and $\left<s_{\Delta \neq 0}\right>$ is the \textit{mode-specific crosstalk}. Figuire~\ref{fig:4}(g) and (h) plot for the case $(\ell_1, \ell_2) = (0, 2)$. As expected, $\left<s_{\Delta}\right>$ results for conventional sorting [Fig.~\ref{fig:4}(g)] are consistent with the known property of OAM modes that the power disperses homogeneously into sidebands due to increasing AT strength \cite{tyler2009influence, rodenburg2012influence}. Indeed, all $\left<s_{\Delta}\right>$ values converge to $\sim 1/21$, which is the inverse of the number of modes that are being sorted for. In strong contrast, with DHMS, the mode-specific crosstalk never increases beyond 0.1 or 10\%, and mode purity never goes below 0.69 [Fig.~\ref{fig:4}(h)] even for $D/r_0 \sim 100$. It is clearly evident that DHMS potentially has a significant advantage compared other existing AT compensation methods \cite{ren2014adaptive2, liu2019single, fu2016pre}.

	\begin{figure*}
		[t!]
		\centering
		\includegraphics[width=1\linewidth]{Figs/oamdh-setup}
		\caption[]{Schematic of the experimental setup. A linearly polarized 632.8-nm He-Ne laser beam is split into two arms of a Mach-Zehnder setup, where the two separated beams are imparted with OAM modes $\ell_1 = 0$ and $\ell_2 = 8$, respectively, using vortex phase plates (VPP). As discussed in the main text, for experimental convenience, we use a continuous-wave laser instead of optical pulses to prove the operation principle for transferring a single OAM APSK bit. As such, we employ polarization instead of time delay to combine and to separate the two beams. For this purpose, we rotate the polarization of one beam by 90 degrees with a half-wave ($\lambda/2$) plate. The two beams are then combined together and propagate collinearly through free space. To simulate AT, a thin phase-distorting mask (PDM) is inserted into the optical path, and a lens (FT) with a focal length of 2~m is used to simulate scaled far-field propagation along a distance $z_i \sim 2$ m. At the receiver side, the two beams are separated, one of which is normally incident onto the CCD camera. The other beam has its polarization rotated back by 90 degrees with another $\lambda/2$ plate and is then incident onto the camera with a tilt angle of $\eta$. The holographic interference pattern is recorded by the camera, which is then used to sort the OAM modes for the difference of $\ell_2$ and $\ell_1$, $\Delta \ell = \ell_2 - \ell_1$. BS: beam splitter; PBS: polarization beam splitter.}
		\label{fig:6}
	\end{figure*}

	We further quantify APSK-DHMS performance by calculating two simple metrics: the \textit{total crosstalk level or percentage} (XTP), defined as the ratio of total noise power to total power, and the associated \textit{signal-to-noise ratio} (SNR). These are given by the following expressions \cite{agrawal2012fiber}:
	\begin{eqnarray}
	\mathrm{XTP} = \left< {\frac{ \sum_{\ell \neq \ell_2}  I_{\ell} }{\sum_{\ell}  I_{\ell} }} \right>,
	\qquad
	\mathrm{SNR} = \left< {\frac{ I_{\ell_2} }{\mathrm{RMS}\left\{ I_{\ell \neq \ell_2} \right\} }} \right>, \label{XTP_SNR}
	\end{eqnarray}
	where $\langle \rangle$ denotes an ensemble average over multiple instances of atmospheric turbulence and RMS$\{\cdot\}$ denotes the root mean square amplitude. Fig.~\ref{fig:5} shows both the XTP and SNR of the APSK-DHMS scheme versus AT strength for three different cases of ($\ell_1,\ell_2$). These results were calculated by averaging 100 DHMS simulations like those shown in Fig.~\ref{fig:4}(b), and in $\sum I_{\ell}$ we used a range of $\ell = \{0, 1, 2, \ldots, 20\}$.

	Figure~\ref{fig:5}(a) shows that XTP increases with increasing $D/r_0$, with a mostly gradual change for the (0, 2) case, but reaching a peak at $D/r_0 \sim 6$ and $\sim 7$ for cases (0, 6) and (0, 18), respectively. This trend suggests that cases with very small $\Delta\ell$, e.g.~(0, 2), yield the lowest XTP for all values of $D/r_0$, and the inverse occurs for propagations with large $\Delta\ell$, e.g.~(0, 18). The lowest value of XTP is 0.11 for (0, 2), which reaches a maximum of 0.29 at $D/r_0 \sim 100$. XTP goes to its highest value of 0.46 for (0, 18) at $D/r_0 \sim 7$, but in this case it starts off at 0.17 for $D/r_0 \sim 0.01$.

	Interestingly the peaks in XTP occur for instances of AT where $D/r_0 < 10$, and this likely reflects the stronger correlations of mid-scale turbulence features with either the higher-frequency OAM phase patterns or the annular intensity envelope. These correlations may induce asymmetric phase distortions, which would reduce the value of inner products during sorting.

	After a certain point, AT distortions become homogeneously high-frequency and speckle-like. These average out more easily during mode sorting integrations, and this would account for the XTP dips following the peaks. Finally, the rebounding increase in XTP at extreme values of $D/r_0$ is most likely due to the higher frequency AT features broadening the electric field at the detector. In other words, we obtain less phase information if AT-induced scintillation leads to greater amounts of high-frequency angular components being cut-off by our digital aperture.

	SNR results in Fig.~\ref{fig:5}(b) suggest similar trends to those shown for XTP, with cases having larger $\Delta\ell$, e.g.~(0, 18), also having the lowest SNR for most values of $D/r_0$, and vice-versa for cases with smaller $\Delta\ell$, e.g.~(0, 2). The highest SNR value of 100 is reached with the latter at $D/r_0 \sim 0.6$, but it decreases to 34 at $D/r_0 \sim 100$. With the (0, 18) case, at $D/r_0 \sim 7$ we reach the lowest SNR of 20, which started off as 71 for $D/r_0 \sim 0.01$. As for XTP, the largest SNR variance between different cases of ($\ell_1, \ell_2$) occurs for mid-level turbulence strengths where $D/r_0 \sim 6$.

	\begin{figure*}
		\centering
		\includegraphics[width=1\linewidth]{Figs/oamdh-indresults-s}
		\caption[]{Experimental results of OAM DHMS for one mode pair: $(\ell_1,\ell_2) = (0,8)$. (a)-(d) and (e)-(h) show the results without and with the phase-distorting mask, respectively. Columns I, II, and III show the recorded hologram intensity profile, its spectrum, and the phase $\phi_{\Gamma}$ of the field $\Gamma$, respectively. Insets in column II show the intensity of $\gamma_-$. The bars in column IV show the DHMS amplitudes $I_{\ell}$ of the $\Gamma$ fields. Errors and noise floors for $I_{\ell}$ are also indicated using arrows and dashed lines.}
		\label{fig:7}
	\end{figure*}

\begin{figure*}
\centering
\includegraphics[width=1\linewidth]{Figs/oam-apsk-physical}
\caption[]{Physical implementation of OAM-APSK analog holographic mode sorting (AHMS). Different steps in the algorithm and physical setup are denoted by the column numbers I through V. We assume that it is possible to easily record and read-out physical holograms (gray screens) using something like a diffusive screen or nonlinear material. I) The first hologram is recorded, as in regular DHMS, of the interference between two OAM modes. II) We take a Fourier transform of the hologram using a lens, and at the Fourier plane we sample the spectrum $I_h$ using two pinholes on the spots that correspond to $\gamma_-$ and $\gamma_+$. III) The latter two fields are imaged to record another hologram, $I_{\gamma}$. IV) We use a lens to project the spectrum $\widetilde{I}_{\gamma}$ onto a pinhole screen again, this time only filtering out the field $\widetilde{\gamma}_+ \ast \widetilde{\gamma}_-^{-*}$. V) A final lens takes the latter's Fourier transform, yielding $\gamma_+\gamma_-^*$, from which we can extract $\phi_{\Gamma}$ and use an analog mode sorter (e.g.~a wavefront sensor or cascaded spatial light modulators) to measure the OAM-APSK mode $\Delta\ell$.}
\label{fig:8}
\end{figure*}

	In summary, the XTP and SNR simulations demonstrate that both parameters remain at viable levels for a wide range of turbulence strengths. SNR never goes below 20 for APSK modes up to $\Delta\ell = 18$, and it only decreases by a factor of 5 even for very strong turbulence where $D/r_0 \sim 100$. Similarly XTP only increases by a factor of 5 and never exceeds 0.46 for a wide range of 21 modes being sampled. Overall, all our simulations suggest that DHMS provides a potentially 100\% signal recovery rate for APSK modes.

	\section{Experiment}

	To further verify the proposed approach, we carried out experiments with a setup schematically shown in Fig.~\ref{fig:6} (more details are given in Appendix Section III). Here, our goal is to provide a proof-of-concept for transferring a single OAM APSK bit. As such, we do not implement a full communication scheme as originally shown in Fig.~\ref{fig:1}. Instead, we substitute the pulsed laser with a continuous wave laser and refrain from implementing EOM gates for switching. For the phase-distorting mask, we used a 1-mm-thick polypropylene slab with a diameter of 3 cm., which approximates the effect of turbulent distortion with an equivalent AT strength $D/r_0$ ranging between 7 and 27 (more details are included in Appendix Section III).

	Figure~\ref{fig:7} shows experimental OAM-APSK DHMS results for the case of ($\ell_1, \ell_2$) = (0, 8). In the absence of external perturbations to the beam profile, Fig.~\ref{fig:7}(a) shows the hologram data with a clean annular profile. Its spectrum in Fig.~\ref{fig:7}(b) shows the offset $\gamma_-$ and $\gamma_+$ fields, where the inset displays the details of $\gamma_-$ that also has an annular distribution. The slight distortion is introduced by the systematic errors in our setup that result primarily from certain physical imperfections on the beam splitter surfaces. In Fig.~\ref{fig:7}(c), the phase profile of $\phi_{\Gamma}$ exhibits the clear azimuthal phase pattern of $2\Delta\ell\theta$. Consequently, sorting results in Fig.~\ref{fig:7}(d) show a clear peak at $\Delta\ell = 8$. The side-lobes are due to the systematic errors as described above, which corresponds to a systematic XTP of 0.59 and a systematic SNR of 6.8.

	After introducing the phase-distorting element in our system, Fig.~\ref{fig:7}(e) now shows the hologram data with streaking across the annular profile. Similarly, Fig.~\ref{fig:7}(f) shows that the power spectrum is also distorted, with the original ring profile being spread amorphously into several intensity lobes. By strong contrast, Fig.~\ref{fig:7}(g) shows that the phase $\phi_{\Gamma}$ retains fairly faithfully the original unperturbed azimuthal profile. Consequently, DHMS produces a clear and strong peak for the APSK mode $\Delta\ell = 8$ with only a negligible change in the noise floor, as shown clearly in Fig.~\ref{fig:7}(h). As a result, the SNR decreases only by a small amount to 4.5, and the XTP increases to 0.79 accordingly. Similar DHMS results are obtained for different cases of ($\ell_1, \ell_2$), which are included in Appendix Section III.

	Overall, these experimental results show that OAM DHMS signals are robust to phase distortion, since the SNR fluctuates by only 11\% while still maintaining a clear peak at $\Delta\ell = 8$. Notably, we obtain these results even while using a phase screen that simulates intense AT distortions with $D/r_0$ ranging up to 27. Significant improvements can be made in the future, simply by resolving the systematic errors in our experimental setup.

	\section{Discussion}

	In summary, we have proposed OAM-APSK and DHMS as a combined encoding and decoding solution to address the challenge of atmospheric turbulence. We proved, both numerically and experimentally, that the proposed approach is able to significantly bypass AT-induced intensity noise by relying solely on phase information for encoding bits via OAM mode interference. Moreover, OAM-APSK can easily be extended to multi-valued bit encoding, and we can incorporate OAM-APSK together with existing spatial-mode division multiplexing schemes. We describe these multiplexing systems in Appendix Section IV.

	As for DHMS, its continued study may open up broader perspectives for spectral and computational turbulence mitigation techniques. We expect that DHMS could be incorporated with existing adaptive optics systems to further improve resolution, SNR, and bit-error rates. Indeed, adaptive optics systems can more easily reduce pointing errors and other low-frequency aberrations \cite{ren2014adaptive,ren2014adaptive2}, while APSK-DHMS can effectively bypass AT-induced high-frequency noise.

	Presently, the major limitation for APSK-DHMS lies in the speed of numerical processing and the computational limits imposed by requiring larger digital arrays for better resolution. However, in Figure \ref{fig:8} we introduce a possible analog holographic mode sorting (AHMS) framework for OAM-APSK. Making use of only lenses, holographic recording materials (or even diffuse projection screens), and pinhole filters, we can carry out the optical phase conjugation and multiplication operations that are integral to DHMS. In essence, we can transform the input field of OAM modes into the electric field $\gamma_+\gamma_-^*$ such that the analog mode sorter positioned at the end can operate on the phase $\phi_{\Gamma}$, retrieving the APSK mode $\Delta\ell$ just as is done via DHMS. Thus, with AHMS, we can take advantage of the faster analog conjugate mode sorting techniques that are carried out via SLMs and photodetectors \cite{gibson2004free}, while having already eliminated a significant amount of phase noise via the holographic optical conjugation.

	Future investigations will involve developing a rigorous DHMS theory, implementing a real-time long-distance OAM-APSK link, as well as investigating the viability of encoding quantum bits using the OAM charge difference. We hope that the proposed OAM-APSK and holographic mode sorting would open up a great avenue for OAM-based free-space optical communication that could ultimately resolve the challenge imposed by atmospheric turbulence.

	\subsection*{Acknowledgments}

	This research was done with support by grants from the National Science Foundation (NSF) (ECCS1810169, ECCS-1842691, EFMA-1641099).	\\

redpajama_set_name: RedPajamaArXiv


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text:
KSBY (channel 6) is a television station licensed to San Luis Obispo, California, United States, serving the Central Coast of California as an affiliate of NBC and The CW Plus. The station is owned by the E.W. Scripps Company, and maintains studios on Calle Joaquin in southern San Luis Obispo, with an additional studio on Skyway Drive in Santa Maria, near the Santa Maria Public Airport. Its transmitter is located atop Cuesta Peak.

History
The station went on the air in May 1953, as KVEC-TV. The VEC stood for Valley Electric Company, which also built Sonic Cable, the original cable television system in San Luis Obispo. KVEC-TV was the first television station in the Central and South Coast, and aired programming from NBC, ABC, CBS, and DuMont, with NBC being its primary affiliation. During its first four years on the air, the station was co-owned with radio station KVEC.

Ownership with KSBW
From 1957 to 1996, the station was a sister station to KSBW channel 8 in Salinas, which is why the station currently has a similar call sign. From 1957 to 1979, KSBY was largely a semi-satellite of KSBW, with the exception of local commercials, its local newscasts, some syndicated programs, and preempting CBS network shows also carried by KCOY in adjacent Santa Maria, once it began operation in 1964. During this period, the KSBY sales office was located at co-owned Sonic Cable, and its local programming originated at the transmitter site. In 1960, ABC programming was effectively dropped when KSBW lost its affiliation with that network to KNTV in San Jose. Finally, in 1969, KSBY became the sole NBC station for both San Luis Obispo and Santa Barbara counties when they were consolidated into a single market (with Santa Barbara-based KEYT as the ABC affiliate). KSBY and KSBW were acquired by Blair Broadcasting in 1979, at which time KSBY became a free-standing station. The stations were sold to Gillett Communications in 1986.

Ownership changes
After Gillett restructured into SCI TV in the early 1990s, it sold KSBY and KSBW to EP Communications in 1994. EP, in turn, sold both stations to Smith Broadcasting in 1995. Almost immediately, KSBY was spun off to SJL Broadcasting in 1996, because Smith Broadcasting already owned rival station KEYT, and Federal Communications Commission (FCC) rules of the time did not permit duopolies. Even today, common ownership of KEYT and KSBY would be a violation of FCC duopoly rules, which forbid one entity to directly own two of the four largest stations in a single media market.

In September 2002, SJL sold KSBY to the second incarnation of New Vision Television, a company partially related to the most recent incarnation of that company that sold all of its stations to LIN Media in 2012. Evening Post Industries (through its Cordillera Communications subsidiary) acquired the station in 2004.

Recent history

In 2006, the station was featured in an episode of The Surreal Life, in which the cast of the reality-based series were hired as anchors and reporters for the station's 6:30 p.m. newscast.

Ryan Bennett, a one time KSBY sports anchor from 1999 to 2006, died on May 31, 2006, in Utah in an accident.

Cordillera announced on October 29, 2018, it will sell most of its stations, including KSBY, to the E. W. Scripps Company. The sale was completed on May 1, 2019. This made KSBY a sister station to nearby ABC affiliates KERO-TV in Bakersfield and KGTV in San Diego.

Central Coast CW (KSBY-DT2)
KSBY-DT2 is the CW-affiliated second digital subchannel of KSBY, broadcasting in 720p high definition on channel 6.2. All programming on KSBY-DT2 is received through The CW's programming feed for smaller media markets, The CW Plus, which provides a set schedule of syndicated programming acquired by The CW for broadcast during time periods outside of the network's regular programming hours; however, Scripps handles local advertising and promotional services for the subchannel. KSBY-DT2 carries the entire CW network schedule, although it preempts a half-hour of syndicated programming carried by the CW Plus source feed (usually consisting of off-network sitcoms) each night in order to carry a 10:00 p.m. newscast produced by its parent station.

News operation
, KSBY airs 36 hours of news each week (with 6 hours each weekday and 90 minutes each on Saturdays and Sundays). Until June 2021, KSBY did not broadcast news during the midday hours but on June 21, 2021, KSBY debuted a new half-hour newscast at 11 a.m. called KSBY News Midday. However, KSBY still does not have weekend morning newscasts.  On KSBY-DT2, the station airs a half-hour primetime newscast at 10 p.m. seven days a week.

Technical information

Subchannels
The station's digital signal is multiplexed:

Analog-to-digital conversion
KSBY shut down its analog signal, over VHF channel 6, on February 17, 2009, the original target date on which full-power television stations in the United States were to transition from analog to digital broadcasts under a federal mandate (which was later pushed back to June 12, 2009). The station's digital signal remained on its pre-transition UHF channel 15. Through the use of PSIP, digital television receivers display the station's virtual channel as its former VHF analog channel 6.

Translator

A translator was previously operated in Springville on K11FU, owned by Springville Community TV, but the station's license was cancelled in December 2007. KSBY can be received in parts of Ventura County near the Los Angeles area covered by NBC West Coast flagship KNBC and Monterey County south of San Jose in the San Francisco Bay Area covered by NBC O&O KNTV. Sometimes KSBY can be received in the southern San Joaquin Valley like in parts of Fresno, Tulare and Kern counties.

See also
Channel 5 branded TV stations in the United States
Channel 6 virtual TV stations in the United States
Channel 15 digital TV stations in the United States
KVEC (AM)

References

External links

  — Central Coast CW 5 site

NBC network affiliates
Laff (TV network) affiliates
Court TV affiliates
Television channels and stations established in 1953
1953 establishments in California
SBY
E. W. Scripps Company television stations

redpajama_set_name: RedPajamaWikipedia


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