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FINLAND TRIBUTE WEEK: NORTHER, WINTERSUN, AND MOONSORROW FINLAND TRIBUTE WEEK: SENTENCED, STONE, AND OMNIUM GATHERUM
NCS INTERVIEW: SKELETONWITCH
Interviews Add comments
[EDITOR'S NOTE: In addition to our latest Finland Tribute Week post (below this one), today we also have another contribution from our Midwestern correspondent BadWolf — this time, a most entertaining interview with guitarist Scott Hedrick from a most awesome band, Skeletonwitch.]
The following interview with Ohio thrashers Skeletonwitch was conducted on November 20, 2010 at Frankie's Inner City in Toledo, Ohio by BadWolf.
S-My name is Scott Hedrick; I play guitar in Skeletonwitch.
BW-Rhythm or lead?
S-Both. We trade off and on.
BW-I love twin lead guitars.
S-I don't think there's any reason to have one lead or one rhythm player. We [Nate Garnette and I] have different styles of rhythm and of soloing, so I think it makes it more diverse—and we can do harmonized leads too.
BW-The old-school thing, the Iron Maiden thing.
S-I love it. Some of my favorite guitarists are Tipton and Downing from Judas Priest, the Iron Maiden players, Sharmann and Denner from Mercyful Fate. My favorite players are teams of players, so it makes sense that we would do the same thing.
BW-That leads into my next question. You guys have been in some weird way labeled 'retro.'
S-Yeah!
BW– When I hear retro-thrash or neo-thrash, the first name I hear is… Well the first name I hear is Municipal Waste, who are great, but the second name is usually you motherfuckers.
S-Really? They kind of nailed us with this retro-thrash tag and it's not something that we call ourselves. I think we do play a more classic style of metal, meaning we don't play seven-string guitars, we don't down-tune, we play in E-standard. There's a lot of elements we have that represent a more classic metal sound. There's also a lot of thrash metal elements because we love thrash but, not to sound too artsy fartsy, it's limiting to be called a retro-thrash band. There are great bands that do it, like you mentioned Municipal Waste, but also Toxic Holocaust or Short Sharp Shock and Warbringer. One thing that we do differently is we have a lot of death metal elements, some NWOBHM guitar techniques. Whenever I hear this label retro-thrash I check out these bands and I think they all sound the same—intentionally. They're re-writing an old Vio-Lence record or a Nuclear Assault record. We aren't trying to sound like we came from that time we just happen to like that style of music and classic metal, and death metal and black metal. I don't know why we get lumped in with that crowd. Maybe it's because we have a heavy thrash basis—our songs aren't exactly slow, but we do get into some mid-tempo Viking stuff.
BW-Trem picking.
S-Yes, and the black metal stuff. It always kind of annoyed us. One of the things Nate and I theorize is that a lot of people who call us that just look at a press release some asshole wrote, look at the cover and song titles and say 'oh it's another one of these.' [laughs] They skim through it without really listening to the record. And it's not like there's anything wrong with [retro-thrash] there's a lot of good bands that do it, but it's not what we do or are looking to do so… there's my rant on that!
[laughs]
BW– That's interesting, because while I used to be sort of a re-thrash sort of guy you guys are doing something very different to me—sort of bringing the 'black' sound to the masses to an extent.
S-That's cool.
BW-That's not traditionally a US thing, it's a Euro thing.
S-Yeah. We just love a lot of black metal bands. We're huge Immortal fans. Darkthrone and Bathory as well, just as much as we like 90's death metal and 80's thrash. We don't deliberately write songs in a way that we say 'now we need a thrash part, now we need a death metal part.' We just play riffs we like to hear, just like I imagine anyone who plays music would. You write what you want to hear. Like if you were at the front of the stage listening what would you want to hear? What makes you excited? It's self-gratifying in a way, which is why we get all those different styles. It's not thought out. Which is why it burns my ass when we get labeled with that retro-thrash thing. People think we sought out to do that. We aren't like these bands where you look at them and realize it's like they went to E-bay and found an Exodus costume.
BW-[laughs] Who sells an Exodus costume on Ebay?
S-I don't know! I guess you have to find the pieces, the elements. But you know Exodus doesn't even dress like Exodus did back then. But people try to pretend. They try to dress like that, act like that. 'Every day is a pizza party—check out my fuckin' high tops.' I like pizza and I don't mind high tops, but some people try too hard to pretend it's that time and it's not. For us it's natural—we like all these different styles and it comes out, which is why it's so frustrating to be labeled one thing or another. We're not fucking Picasso, but it sucks when someone throws some label on you and when people read it they gloss over us. If somebody doesn't really like retro thrash but is a huge death metal fan they might actually really like our band, but if they read that label…
BW-yeah.
S-I got off topic again. [laughs] But yeah, the black metal element is something that we like and it just ends up in our guitar playing.
BW-Well, I know my friends got into your band through the Metal Swim download compilation album.
S-Oh yeah!
BW-You guys were on that, and when they were promoting it on TV they used your guys' music video.
S-Yeah that's what I heard. I haven't seen it. Everyone in the band did but… me.
S-Of course I watched the video.
BW-I'm really interested in the video because it's just so cool. It's such a neat little idea and it's so well done, and there's so many 'oh fuck!' moments. So many metal videos aren't creative, aren't funny, don't have any personality—they just go 'I'm in a fucking warehouse, I can pig squeal ree-ree.' But you guys went in this fuck 4Chan furries meets Mad Max white blood zombie apocalypse prison camp thing and it is so cool.
S-Aw thanks. We were on tour, maybe it was right before we were leaving for Ozzfest, and we got a call from the Adult Swim people saying they were putting out a compilation and wanted us to put a song on it. We said we were interested but wanted to see who else is on it first. We don't just say yes to everything.
BW-I'm applauding.
S– So the two things that helped us make the decision to put the track in were 1) who was on it. They said Boris, Torche, Black Tusk, Death Angel.
BW-Ludicra?
S-Yeah man!
BW-That might be my record of the year.
S-It's so good! So I told the band 'fuck, this sounds so good.' I was talking on the phone—I do most of the business stuff. So I told the band who was on it and they said 'yeah, it sounds good, we're in good company.' They also sent us a link to—[Adult Swim has] done other compilations; a hip-hop one, an electronic one, maybe a folk. They all had cool artwork, were well done and had good artists that had done cool shit. Jesu—they've put some of that out in the past. I just noticed they had this really high caliber of artists who do their stuff outside of metal, and I saw the other bands that would be on it. We said yes, it's good company and they really care about what they put out they aren't just throwing it together. So we said yes. A couple weeks later they called us back and said 'we're doing one music video for [the compilation] and we want it to be for your song "Bringers of Death.'' We wanted to know what the video was going to be like before we said yes. They sent us a treatment—which is the video you see.
S-we read it and we were like 'in all honesty I don't know…'
[BadWolf is cracking up at this point]
BW-It is very weird.
S-And paper to execution is… Well after we read the treatment we asked for some things to be cut out that were kind of ridiculous. As a band we've always—as individuals, in interviews, hanging out as a band—had a huge sense of humor. We think we're pretty hilarious—most people probably think we're fucking idiots.
BW-I laugh.
S-So you know we always have a good time! But we take metal seriously. We don't want to be a joke band. We don't want to be Steel Panther.
S-It's serious. We grew up loving it and going to shows. It's motivated us and inspired us. It's made us laugh at times. It became a question of: is this something people are going to get? It was for Adult Swim as a one-time thing that is over the top and funny but will people think 'oh they're just trying to cash in!' Which is funny, because people think we get paid for it.
S-We knew we were towing the line of not wanting people to think our band is a joke but wanting people to think our band has a sense of humor. We try to convey that through—as much as I hate to use this term—social networking. I'll tag pictures of us doing things on tour I think are hilarious. Fans that see that, or come see us and then hang out know that, but when you see the music videos or listen to the records there's not a lot of hilarity there because we take the metal seriously.
Anyway, we read the treatment, got on the phone and talked to the guys. The video was done by Authority films.
[at this point in time a middle-aged homeless man interrupts the interview]
HG-Could you all spare some change?
BW-I got nothing.
S-No cash.
HG-How about a cigarette.
S-Sorry, I bummed this one. Good luck though.
[he leaves.]
BW-Memo to myself; transcribe that entire thing.
BW-Welcome to Toledo.
S-We travel a lot. I've seen it all. We talked to the directors and they had done three Mastodon videos. We watched those and they were also kind of weird—the one with clowns ['Blood and Thunder']. We watched a bunch of their stuff and saw that it was all very good, the shots and everything were very well-done. We talked to them about taking stuff out putting other stuff in and got to a point where we were comfortable with it. Then, on the last date of Ozzfest, August 24th in Boston—we were flying to Germany on the 28th to tour in Europe—we get the phone call to shoot this thing. We had to go to Atlanta where their studios are to shoot it. We said 'we get back from Europe on this date,' and they were like 'no, no, no, it has to get done before you go to Europe because it has to be ready by this date, we can't change that.' So we played the last Ozzfest show and they flew a friend to Boston from Ohio—which is nice of them, they helped with expenses getting us down to Atlanta as well. Our friend drove the bus back to Ohio, we flew to Atlanta with our guitars, went over the video shoot the first day, shot the video the second day, flew back to Columbus, did laundry, got the van and flew to Europe less than 24 hours later. It made our schedule a little hectic, but it was fun to shoot and turned out well. The response has been good. I was expecting like, some dude who is extremely into black metal and cuts himself all day to be like 'fuck you! I can't believe this!'
BW– 'You guys go jump off a cliff, take Nachtmystium with you!'
S-Mmhmm. I could just see some guy saying… [distracted] what the fuck?
[a lowrider Coup De Ville speeds past us being chased by a wild barking Pit Bull. Badwolf laughs.]
BW-Like I said, welcome to Toledo, we got wild dogs chasing cars.
S-Feral dogs on main street!
BW– But you're not in Toxic Holocaust, so I can't post the music video to that.
S– That would have been a great lead-in!
BW-It would. 'There actually was a wild dog.'
S-I planned that.
S-So that's the story on the Adult Swim thing. It was great to be a part of.
BW-This is personal: I'm from Ohio, you're from Ohio. Ohio in general does not get the love. The Midwest doesn't really get the love outside of Chicago.
S-I think you've just got to earn the love. It depends what you mean, I suppose. We do get a lot of shit like [in faux-disbeleif] 'You're from Ohio? What the fuck is there?'
BW-Who says that?
S-Oh just random people from other states, other countries. As if we don't have Columbus, Cleveland, Cincinnati—some really major cities. They think we all live in the middle of a cornfield or something.
S-We get some love. I love Ohio. It's not too bad. Midnight from Cleveland is awesome. Our friends Deadsea that we just played some shows with this last week are a great Columbus band. There are a lot of cool bands here. We grew up in Ohio, we love it here. We don't have any plans to move somewhere else because Ohio is apparently not very cool to be from. What's been your experience where Ohio doesn't get the love?
BW-You were the last time that there was a good band signed from Ohio—at least one I wanted to listen to. The thing in Ohio right now, at least in the Cincinnati scene is the three-chord deathcore. So much three-chord deathcore.
S-I hate that shit.
BW-I kinda like a breakdown now and then.
S-I can't speak for everybody, but I'm not a fan. I can dig the mid-tempo 90's death metal thing that people got the idea from—it almost sounds like a breakdown when you go back and listen.
BW-Like Incantation? Yeah. Incantation, to me, sounds like a breakdown for five minutes, which is not a slam on Incantation. Get it?
S-But I can't do the tough-guy like 'Here we go motherfuckers!'
S-and then it's chum chum chum forever and kids just pick up change and beat each other up.
S-If that's what they're into, cool. I'm not going to knock it—I'm just goofing on it because it's not my thing. They probably hate a lot of the shit I like. But to each his own.
EDITOR'S NOTE: Here's that video for "Bringers of Death" that BadWolf and Scott were talking about in the interview. It's a kick-ass song and the video is indubitably one-of-a-kind:
Posted by Islander at 4:30 am Tagged with: Scott Hedrick, Skeletonwitch
7 Responses to "NCS INTERVIEW: SKELETONWITCH"
The Artist Formerly Known as Dan says:
Man I fuckin love the 'witch…partly because I *do* like retro-thrash but also because they do their own thing and they do it well. I'm also a big fan of the standard-tuning guitars. They don't have to achieve heaviness through changing the tone, they do it with the riffs. Additionally, it makes it so I can grab the axe and try to play along (keyword: try) without making my strings feel too unresponsive. In fact, this is actually something I've wondered – does anyone else think thrash metal necessarily requires that the guitars are not downtuned to something silly like drop A? You know, because trem-picking on spaghetti noodles is kind of difficult.
Also, Islander, I had no idea Ohio was in Finland. This explains everything.
I am choosing my words carefully here. I have been to Ohio. I have been to Cleveland, more than once. In the wintertime. I have stayed in a hotel In Akron that was made from hollowed-out grain silos. In the wintertime. If I had only known that I was actually in Finland, surely it would have made those visits more memorable. That is, memorable in a good way. Which they weren't.
Vinter says:
i was introduced to Skeletonwitch ( the song Soul Thrashing Black Sorcery, to be exact ) in the Brutal Legend video game, and caught my attention right away, seriously, i was allways skiping songs just so i could re-listen to it. Great band, unique sound and judging by this interview they seem like a bunch of nice chaps aswell.
oh and as The Artist Formerly Known as Dan said, "they don't have to achieve heaviness through changing the tone, they do it with the riffs".totally agree, standard tunning kicks ass.
BadWolf says:
I'd like to throw my two cents in and say Drop D is THE metal tuning for me. But E standard and drop C are cool as well.
And yeah, wild dogs? That's why I'm the BadWolf, son!
byrd36 says:
Skeletonwitch quickly became one of my favorite bands shortly after hearing Beyond the Permafrost and then came Breathing the Fire and I nearly soiled my pants. They are so much more than any one sub-genre can define. All Hail The 'Witch!
Ahh, Toledo… a.k.a. Detroit-South 😛
But anywho, nice interview! Skeletonwitch kick some serious ass, yet I still haven't managed to catch them live; soon hopefully…
I still remember being blown away by 'Beyond the Permafrost' when we got the cd at my college radio station when I was metal director there! Been a fan ever since!
Phro says:
I had originally not listened to Skeletonwith precisely because I thought they were re-thrash, and I have no interest in it. (I'm not a big fan of thrash either.) So thanks to this interview (and AWESOME video), I am finding myself interested.
Thanks to you, BadWolf!!


All the women are backstage and Daniel Bryan says that all the women will be on the Smackdown team. Except for Lana. Says that this year the Smackdown Live Women will come out on top against the Raw team. Bryan says there needs to be a strong leader. Charlotte volunteers to be captain, but is met with resistance. Bryan says there will be a Fatal-5 way match to determine to leader of the Smackdown Women's team.
Tamina takes out Lynch and Naomi with a suplex, Charlotte Flair with a superkick, and also Carmella. Lynch and Flair dropkick Tamina. Then as the two sip tea, Flair chops Lynch. Lynch reciprocates. Then Carmella comes off the top rope with the crossbody on both Lynch and Flair. Carmella goes for the pin on Lynch. Two Count. Carmella tries to bring Naomi in the ring, but Naomi connects on a kick. Sunset flip pin. Two Count. Naomi continues to throw Carmella in the corner. Throws Carmella to the ground and connects on a flying clothesline. Naomi throws Carmella into the ropes which knocks out Lynch on the apron. Naomi assaults Carmella with lethal kicks. Carmella fights back, counters Naomi and takes her down from behind by pulling her hair. Two count. Naomi gets up and repeatedly kicks Carmella. Carmella is dragged to the outside of the ring by Tamina. Carmella then applies a sleeper hold on Tamina. Charlotte takes out Tamina and Carmella. Flair with a fallaway slam on Tamina. Lynch then attacks Flair by jumping off the apron. Naomi takes out Lynch jumping over the top rope. Charlotte goes after Tamina, but is hit in the back by Lana. Flair goes after Lana but is then superkicked by Tamina. Tamina throws Flair over the barricade. Lynch attacks Tamina from behind, but it is not successful. Tamina throws Lynch into the ring, but then Naomi takes Tamina out with a kick. Naomi roll up pin on Lynch, Lynch reverses for a roll up pin. Carmella breaks it up and throws Naomi into the the ring post. Carmella kicks Lynch in the jaw. Pin, two count. Another pin, two count. Carmella is frustrated and as she is about to go after Lynch, Lynch applies the DisArmer on Carmella. Carmella taps out.


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text:
/*
 * whodunit.c
 *
 *  Created on: Feb 1, 2015
 *      Author: Keri Southwood-Smith
 */

#include <stdio.h>
#include <stdlib.h>

#include "bmp.h"

// prototypes
void printUsage(void);

int main(int argc, char* argv[])
{
    // Check command line for proper usage
    if(argc != 3)
    {
        printUsage();
        return 1;
    }

    // Get filenames from command line
    char* input = argv[1];
    char* output = argv[2];

    // Open input file for reading
    FILE* inptr = fopen(input, "r");
    if (inptr == NULL)
    {
        printf("Couldn't open %s.\n", input);
        return 2;
    }

    // Open output file for writing
    FILE* outptr = fopen(output, "w");
    if (outptr == NULL)
    {
        printf("Couldn't create %s.\n", output);
        fclose(inptr);
        return 3;
    }

    // Read input file's bitmap file & info headers
    BITMAPFILEHEADER bfh;
    BITMAPINFOHEADER bih;
    fread(&bfh, sizeof(BITMAPFILEHEADER), 1, inptr);
    fread(&bih, sizeof(BITMAPINFOHEADER), 1, inptr);

    // Check we're reading in a BMP file
    if (bfh.bfType != 0x4d42 || bfh.bfOffBits != 54 || bih.biSize != 40 ||
        bih.biBitCount != 24 || bih.biCompression != 0)
    {
        fclose(outptr);
        fclose(inptr);
        fprintf(stderr, "Unsupported file format.\n");
        return 4;
    }

    // Write the headers
    fwrite(&bfh, sizeof(BITMAPFILEHEADER), 1, outptr);
    fwrite(&bih, sizeof(BITMAPINFOHEADER), 1, outptr);

    // Figure out padding for the input file
    int padding = ((4 - (bih.biWidth * sizeof(RGBTRIPLE)) % 4) % 4);

    // Iterate line by line through the input file
    for (int ii = 0; ii < bih.biHeight; ii ++)
    {
        for (int jj = 0; jj < bih.biWidth; jj++)
        {
            // Hold our pixel information
            RGBTRIPLE pixel;

            // Read one pixel at a time
            fread(&pixel, sizeof(RGBTRIPLE), 1, inptr);

            // Manipulate our red pixel
            if ((pixel.rgbtBlue == 0x00) && (pixel.rgbtGreen == 0x00) && (pixel.rgbtRed == 0xff))
            {
                pixel.rgbtBlue = 0xFF;
                pixel.rgbtGreen = 0xFF;
            }

            // Write the pixel to our copy
            fwrite(&pixel, sizeof(RGBTRIPLE), 1, outptr);
        }

        // Jump over any padding in the line
        fseek(inptr, padding, SEEK_CUR);

        // Write padding to output file
        for (int kk = 0; kk < padding; kk++)
        {
            fputc(0x00, outptr);
        }
    }

    // close our files
    fclose(inptr);
    fclose(outptr);

    return 0;
}

/**
 * Prints out how to use the command line.
 */
void printUsage(void)
{
    printf("./whodunit [inputfile] [outputfile]\n");
    printf("[inputfile] - name of file to be converted\n");
    printf("[outputfile] - name of file to write to.\n");

    return;
}

redpajama_set_name: RedPajamaGithub


text:
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To discuss the issue with Burns, you can e-mail him at dburns@cement.org or the NRMCA national resource director who covers Minnesota, Jon Hansen, at jhansen@nrmca.org.
Over the past year or so, NewsLinks has featured stories on the continuing debate over what is perhaps the most famous boardwalk in the U.s. - that of Coney Island in Brooklyn, NY. If you recall, large swaths of the wooden boardwalk were damaged or destroyed by Hurricane Sandy. City officials decided to replace some of the affected sections of the boardwalk with concrete. Good news, right? Not so fast. Click here to read the latest.
Source: A May 19 posting by The Brooklyn Paper.
The Federal Highway Administration (FHWA) has established a technical working group (TWG) to provide input and feedback on pavement and material sustainability, reports NRMCA Vice President Pavement Structures Brian Killingsworth. The working group is composed of representatives from state DOTs, other government agencies, academia and industry. The working group is part of FHWA's Sustainable Pavements Program, established in 2010, which strives to advance the knowledge and practice of sustainability in the pavements and materials areas. The integrated program covers asphalt, concrete, granular and recyclable materials used in pavement systems and promotes research into new sustainable materials and processes.
Program objectives include developing guidelines for designing and constructing sustainable pavement systems; evaluating materials, processes, technologies and tools to aid in the evaluation, design and construction of sustainable pavement systems; and conducting technology transfer and deployment activities. To support these objectives, the working group meets twice a year to exchange ideas, innovative solutions and evaluate products under development by the FHWA sustainable pavements team. The FHWA is developing a sustainability report, titled Advancing a Sustainable Highway System: Highlights of FHWA Sustainability Activities, with the goal of illustrating how sustainability has been incorporated into a wide variety of FHWA programs, projects, policies, processes and partnerships. It is intended to be published in late Summer 2014 and used by a diverse audience of transportation agency professionals at the federal, state and local levels as well as by the general public.
At a recent TWG meeting held in Minneapolis, comments from committee members on the draft report were reviewed and modifications made when pertinent. Killingsworth is a friend of the committee and ensures that the benefits of ready mixed concrete are considered in the work that the group performs.
Click here for more information about the FHWA Sustainable Pavements Program or contact Brian Killingsworth at bkillingsworth@nrmca.org or 830-438-2690.
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Click here for information on the June course in California. Click here to sign up for the September course. For more information, contact Amanda Hult at ahult@nrmca.org.
During a recent trip to St. Louis, NRMCA Vice President, National Resources, Jon Hansen was shown a large number of parking lot projects that are concrete overlays of the existing asphalt. The projects included schools, a church and a recreational facility. There were multiple designers and contractors on the projects, but the consistent quality of each project is very evident. The joint promotion effort of Evan Bolesta of the Concrete Council of Saint Louis and Ken Liescheidt with the Missouri/Kansas ACPA has resulted in the majority of the local success.
At a meeting during the trip, Hansen met Jeff Moon with Bax Engineering, a civil engineering firm that has taken a leadership role in the design of concrete overlays of asphalt. During the discussion, Moon told Hansen that much of the specifications they use for these projects was developed using the Guide to Concrete Overlays of Asphalt Parking Lots, an RMC Research & Education Foundation-funded publication written by the National Concrete Pavement Technology Center. Moon also stated that concrete overlays are featured on the Bax Engineering Web site as one of the firm's specialties and to build awareness of the process.
For more information, contact Jon Hansen at jhansen@nrmca.org.
Georgia Concrete & Products Association (GCPA) has recently revamped a promotion committee focused on flowable fill, concrete parking lots, pervious concrete and intersections, reports NRMCA Vice President, National Resources, Amy Miller. In an effort to catapult the initial efforts, Promotion Committee lead Ryan Chandler, vice president/general manager of Cemex, in conjunction with GCPA Executive Director Jimmy Cotty and Elizabeth Harwood, manager of marketing & member services, GCPA, held a training session on the four subject matters to prepare the sales group to begin the process. Miller spoke on how to offer compelling arguments to focus audiences on concrete parking lots, intersections and pervious concrete. The room was filled with industry representatives; collectively, the group is excited to be initiating new efforts in this market, Miller said.
"While it's important for those representing our industry to understand the technical nature of our products, it is just important to train them on delivering an effective message in order to enact change," Miller noted. "Depending on the target, the impetus for change varies. People are resistant to change and we must present evidence that choosing concrete is in their best interest."
For more information, contact Amy Miller at amiller@nrmca.org.
NRMCA Senior National Resource Director Phil Kresge recently met with county maintenance officials from the Virginia Department of Transportation (VDOT) to discuss concrete overlays as a maintenance option for existing asphalt streets and intersections. Kresge explained the mechanics of concrete overlays and reviewed the various types, focusing particularly on bonded overlays of asphalt pavements. Additionally, he highlighted several projects that had been completed over the last 20 years in Pennsylvania and Iowa. He closed by introducing NRMCA's Design Assistance Program and encouraged VDOT to take advantage of the free service.
Also at the meeting were Stan Bland, pavement applications specialist for PCA Southeast, and David Stowell from Slurry Pavers, Inc., who gave a joint presentation on Full-Depth Reclamation. Bland also provided information on Roller-Compacted Concrete (RCC). The meeting was facilitated by Hessam Nabavi of the Virginia Ready-Mixed Concrete Association.
For more information, contact Phil Kresge at pkresge@nrmca.org.
The next CONEXPO-CON/AGG international exposition will be held March 7-11, 2017 at the Las Vegas Convention Center in Las Vegas. Named CONEXPO-CON/AGG 2017 chair is Richard M. Goldsbury, president Bobcat/Doosan North America & Australia/Oceania for Doosan Infracore Construction Equipment, West Fargo, ND. He will lead the triennial show's management committee, a group of volunteer manufacturers and other industry stakeholders who oversee show planning to ensure the event meets industry needs.
CONEXPO-CON/AGG is the Western Hemisphere's global gathering place in North America every three years for the construction and construction materials industry, co-located with the IFPE exposition for fluid power/power transmission/motion control. The recently held 2014 CONEXPO-CON/AGG and IFPE saw record exhibit and education numbers and nearly 130,000 registered attendees, including 24 percent international. Click here for more information.
The preliminary estimate of ready mixed concrete produced in March 2014 is 22.4 million cubic yards, 6% higher than in March 2013. The estimated production for the first quarter of 2014 is 57.6 million cubic yards, 3.2% higher than that during the same period in 2013. Based on first quarter production and trends in the last 20 years, the projected production for 2014 is 310 million cubic yards with a margin of error of ±17 million cubic yards (6%). As might be expected, weather had a significant impact on production in the first quarter in many regions of the U.S.
More detail, including production by state, is provided for NRMCA members on the NRMCA Web site.
Lorenzo H. Zambrano, who turned his family-owned cement company, NRMCA Associate member CEMEX, into a giant spanning five continents, and who exemplified a generation of Mexican business leaders as they embraced globalization, died last week in Madrid. He was 70. The company said he died of natural causes while on a business trip but provided no other details. Beginning in 1992, Mr. Zambrano bought up far-flung producers to create the third-largest cement company in the world. He remade each new acquisition, introducing high technology and logistical efficiencies that made CEMEX the subject of business school case studies at Harvard and the Massachusetts Institute of Technology.
Source: A May 13 obituary by The New York Times. Read more.
Starting today (May 21), all drivers of commercial motor vehicles (CMVs) either looking to obtain or renew a commercial drivers license (CDL) must receive their medical certificate by a Certified Medical Examiner (ME) listed on the Federal Motor Carrier Safety Administration's (FMCSA) new National Registry of Certified Medical Examiners (National Registry). Prior to May 21, 2014, drivers were allowed to obtain their medical certificates, which are required in order to operate a CMV, from virtually any healthcare provider. As per FMCSA, this new change now only allows drivers to receive a medical certificate from "medical examiners that have completed training and successfully passed a test on FMCSA's physical qualification standards [and who are then] featured on the National Registry."
For more information or to locate a Certified Medical Examiner, visit the National Registry's Web site. For more information, contact NRMCA's Gary Mullings at gmullings@nrmca.org or Kevin Walgenbach at kwalgenbach@nrmca.org.
In late March, the Federal Motor Carrier Safety Administration (FMCSA) published a proposed rule that would require commercial motor vehicle (CMVs) carriers to install Electronic Logging Devices (ELDs) in all CMVs for the purpose of better complying with federal Hours of Service (HOS) regulations. However, FMCSA's proposal does carve out an exemption for short-haulers. While NRMCA appreciates FMCSA's recognition of the difference between short-haulers versus long-haulers, unfortunately the short-haul exemption creates a compliance question for ELDs. FMCSA's proposal states that short-haulers (those that can take advantage of the 100 air-mile logging exemption) will not be required to purchase, install and use ELDs; provided that if a short-hauler, not using an ELD, comes out of compliance with the 100 air-mile logging exemption and thus needs to fill out a record of duty status (RODS) retroactively for that day; this occurrence (logging) can only be allowed "8 days in any 30-day period".
This provision, as it's written, is unachievable in the ready mixed concrete industry. Often, there are large construction jobs that occur throughout the year and certainly during busy months when it necessitates mixer drivers working longer days and needing to fill out a RODS daily until the job or the busy months settle down. Under the proposal's current language, mixer drivers will need to find the resources, make the investments and conduct training, among other things, for ELDs that would only be required for a short period of time each year. The effect of this provision on the ready mixed concrete industry would be very burdensome financially and logistically. As well, requiring this provision runs counter to the intent of the ELD proposal and the recognition of short-haul operations and instead functions as a Trojan horse to require the purchasing, installation and use of ELDs in all trucks regardless of their operation.
NRMCA encourages all member companies to submit comments in opposition to the "8 days in any 30-day period" provision and instead suggest that the short-haul exemption strictly be limited to distance driven (100 air-miles) and not hours on-duty (12-hour threshold). The comment period now ends on Thursday, June 26.
Click here for more information on the rule or for instructions on how to submit comments. For more information, contact NRMCA's Gary Mullings at gmullings@nrmca.org or Kevin Walgenbach at kwalgenbach@nrmca.org.
More than a decade ago, the U.S. Department of Transportation revised its Hours of Service (HOS) Rules which had been in effect, and virtually unchanged, since 1939. However, shortly after they were adopted, the U.S. Court of Appeals for the District of Columbia voted to vacate the new federal drivers' Hours of Service rules. The rules have been subject to numerous court actions ever since. Now there are new revisions to the rule, including a mandatory 30-minute break, new weekly clock reset, egregious violations for both company and drivers, and much more. Do you know how these rules affect the ready mixed concrete industry? Is your company in compliance? Find out answers to these questions and many more by attending this free Webinar on Thursday, May 22, at 2 p.m. Eastern time.
Click here to register and for more information and staff contacts.
Mark your calendar: This year's NRMCA Safety Course has been scheduled for August 6-8 in Ontario, CA. This 2.5-day course teaches participants about OSHA safety compliance. It begins with why safety is so important and details the reasons why an effective safety program actually saves money through loss prevention and control. Participants learn about electrical safety, machine guarding, fall protection, hazard communication, confined spaces, personal protective equipment, fire fighting and evacuation, maintenance shop, safety chute handling, fleet safety, pre-trip inspection and more.
The course will take place at the CEMEX Ontario Regional Office. NRMCA has also reserved a hotel room block for attendees at the nearby Embassy Suites Ontario-Airport. Further course registration and hotel room block information are forthcoming.
For more information, contact Gary Mullings at gmullings@nrmca.org or Jessica Walgenbach at jwalgenbach@nrmca.org.
The 2014 International Concrete Sustainability Conference held last week just outside Boston in Cambridge, MA, addressed key sustainability issues for the concrete industry. Over 60 world-renowned experts presented the latest developments related to design, specifying, manufacturing, testing, construction, maintenance and research of concrete as they relate to sustainability. Life cycle assessment, environmental product declarations, health product declarations and responsible sourcing were just a few of the topics of high interest at the conference. As always, green concrete and innovative concrete technologies as ways to help reduce concrete's environmental footprint were important topics. In addition, the MIT Concrete Sustainability Hub held its annual Showcase and reviewed research results for the past five years at the Hub and provided a glimpse into the next five years.
For additional details about the conference visit www.concretesustainabilityconference.org or contact NRMCA's Lionel Lemay at LLemay@nrmca.org or 847-918-7101.
NRMCA Producer member Argos Ready Mix, one of the largest concrete producers in North America has published Environmental Product Declarations (EPDs) for concrete produced at its plants that serve the Dallas-Fort Worth market. Developing and publishing an EPD requires a rigorous process of conducting a life cycle assessment (LCA) of plant operations and product formulation followed by an extensive review by independent LCA professionals using a standard called a Product Category Rule (PCR). Argos chose NSF International to verify its EPDs. It followed the North American Product Category Rule for Concrete developed by the Carbon Leadership Forum and relevant international standards. As is required by the standards, the EPDs are published on NSF International's Web site.
The concrete industry leads the way with the number of products with verified EPDs. For more information about EPDs and the NRMCA EPD program, visit www.nrmca.org/sustainability/EPDProgram or contact NRMCA's Lionel Lemay at LLemay@nrmca.org or 847-918-7101.
Last week, NRMCA Vice President of Sustainability Tien Peng presented the "Building Disaster Resilient Solutions Workshop" at the 28th Annual Governor's Hurricane Conference in Orlando. The Governor's Hurricane Conference is the largest forum in the nation that offers training aimed at improving responses to hurricanes. Specifically structured to present information in a dynamic and network-centered atmosphere, the workshop program provided extensive opportunities for emergency management practitioners from Florida and across the country to learn from each other. Approximately 70 emergency management, health and insurance professionals attended the Workshop at the Orlando Convention Center.
Peng was invited to submit a proposal to the event by Mike Zito, NRMCA Producer member Titan America's director of advocacy. Titan America is supporting resiliency legislation in Florida that draws attention to issues of resilient construction. NRMCA encourages its members to participate in local professional groups, such as AIA, ASCE or USGBC local chapters, and offer topics and speakers for education programs.
For more information on concrete resilience initiatives, please go to NRMCA's updated Web page or contact Tien Peng at 206-913-8535 or tpeng@nrmca.org.
Media articles on Congress, transportation infrastructure, regulation, taxes and other subjects, each of which relate to the ready mixed concrete industry, are updated each week by NRMCA's Government Affairs staff. To access the most recent compilation of articles for May 12 - 16, please click here.
If you would like to receive this weekly updated link in a separate e-mail, or if you have questions or comments about the roundup, contact NRMCA's Elizabeth Fox at efox@nrmca.org.
Last week, the House and Senate announced that they had finalized the Conference Report to H.R. 3080, and S. 610 the Water Resources Reform and Development Act (WRRDA). The report will be voted on by the House on Tuesday and the Senate expects to take it up before the Memorial Day recess. WRRDA both reforms and authorizes the programs of the Army Corps of Engineers' (Army Corps) Civil Works programs related to navigation, flood risk management, recreation, infrastructure and environmental stewardship. NRMCA was able to secure several major victories in the WRRDA conference report.
NRMCA's resilient construction language is included in Section 3022 (Durability, Sustainability and Resilience) of the final text as a directive to the Army Corps to encourage the use of resilient construction techniques to the maximum extent practicable in carrying projects. The majority of the Senate's Blunt Nelson amendment language was included in this section. The section clarifies, for the purposes of the bill, that a resilient construction technique will "allow a water resources infrastructure project - to resist hazards due to a major disaster and to continue to serve the primary function of the water resources infrastructure project following a major disaster; reduce the magnitude or duration of a disruptive event to a water resources infrastructure project; and have the absorptive capacity, adaptive capacity, and recoverability to withstand a potentially disruptive event."
Additionally, NRMCA removed the materials references from the resilient construction section that were originally included in the House bill. Materials were placed in a more appropriate section (3021, which is about the use of innovative materials) While we advocated for material neutral language, we are nonetheless happy that competing materials - geosynthetics and advanced composites - are not listed as resilient materials and that roller compacted concrete is included along with the competing materials.
Finally, NRMCA secured two directives in studies that were included in the Conference Report. The first, asks the National Academy of Sciences to consider the reduction in long-term costs and vulnerability to infrastructure through the use of resilient construction techniques (Sec. 3023), and the second asks the U.S. Government Accountability Office to make any recommendations on the use of resilient construction techniques to reduce future vulnerability from flood, storm and drought in its study on the management of flood, drought and storm damage (Sec. 3024).
The legislative text of this final version of the bill can be read here. A section-by-section summary is here. For more information, contact Kerri Leininger at kleininger@nrmca.org.
Last week was Infrastructure Week 2014. NRMCA, as part of our work with the Highway Materials Group - the National Stone, Sand & Gravel Association, the National Asphalt Pavement Association, the American Concrete Pavement Association, the Portland Cement Association and the Concrete Steel Reinforcing Association – issued a press release and participated in a one-week grassroots letter writing campaign.
Thanks to you, we smashed our goal of sending 100 letters to the Hill. As part of our advocacy campaign, NRMCA members, friends and family sent over 2,700 letters to the Hill urging action to fix the Highway Trust Fund and enact a fully funded multi-year highway bill. Thank you for your participation. A new, non-infrastructure week specific, alert is now posted for those who would like to continue to let their representatives know about this important issue.
For more information contact Elizabeth Fox at efox@nrmca.org.
Please join members of the Transportation Construction Coalition (TCC) for a conference call at 3 p.m. Eastern time today, Wednesday, May 21, to discuss the details related to this year's TCC Fly-In program and the RALLY for ROADS being held on June 10- 11. To join the conference call please dial 1-866-670-0780, passcode; 968541.
Click here to register for the TCC Fly-In and here for the Rally for Roads.
The NRMCA May Internet Spotlight is the User's Guide to ASTM Specification C94/C94M on Ready-Mixed Concrete 2nd Edition. This second edition includes 22 comprehensive chapters that explain every section of ASTM C 94/C94M, including background, scope, referenced documents, ordering information, materials, requirements for production, acceptance of concrete and much more. Authors: D. Gene Daniel and Colin L. Lobo. 160 Pages | Pub# 2PMNL49-14.
Member $75 | Non-member $89. Pre-orders are being taken now and shipment will begin at the end of May. Order online.
*Please note that e-mail and direct links to each event listed below can be accessed from NRMCA's Web site.
May 22, Free Webinar
Drivers' Hours of Service in the RMC Industry Free Webinar
Email: Karen Bean, 240-485-1168
May 27, Webinar
Soils 101
Email: Amanda Hult, 303-953-2382
Streets & Roads Promotion for DOTs, Counties & Municipalities
Email: Jacques Jenkins, 240-485-1165
June 3-5, Silver Spring, MD
Concrete Durability Course
Email: Jessica Walgenbach, 888-84-NRMCA, x1152
June 5, Free Webinar
Overlays for Streets & Local Roads
June 10, Free Webinar
Roller Compacted Concrete for Streets & Local Roads
June 11-12, Online Course
Designing Pervious Concrete Pavement for Municipal & Commercial Applications
Winning Initial Streets & Roads Projects in Counties & Municipalities
June 17, Webinar
Concrete Pavement Jointing Plans
Backing Accident Prevention Program
Utilizing MIT Research Results
Email: Shawnita Dickens, 888-84-NRMCA, x1154
Concrete's Role in Sustainable Development
Email: Tien Peng, 206-913-8535
SLR Concrete Construction & Repair Basics
July 7-10, Online Course
Building Green with Concrete
July 8, Webinar
Understanding Asphalt
Email: Brian Killingsworth, 830-438-2690
July 11, Webinar
Designing Concrete Parking Lots the Right Way!
Email: Amy Miller, 904-264-8850
July 15, Free Webinar
Streets & Roads Elected Official Advocacy
July 29-30, Online Course
Designing Jointed Concrete Pavement for Streets and Parking Areas
Streets & Roads Promotion & Advocacy Overview
August 4-7, Online Course
Life Cycle Assessment of Concrete Structures
August 5, Free Webinar
August 12-15, Silver Spring, MD
Plant Manager Certification Course
August 14, Free Webinar
Streets & Roads Team Building & Situation Analysis
August 19, Webinar
Controlling Moisture in Concrete Slabs
Recruiting & Hiring Top Performing Ready Mix Sales Reps
September 8-10, Silver Spring, MD
September 10, Webinar
Re-Entrepreneuring: 7 Strategies for Rebuilding Your Business in the New Economy
September 12, Free Webinar
October 7-10, Silver Spring, MD
CCSP Module I, "Concrete 101" - Technical/Product Knowledge
October 14, Free Webinar
November 3-7, Silver Spring, MD
Annual Concrete Technologist Training and Certification Course "Short Course"
November 7, Webinar
November 18-20, Silver Spring, MD
The Effective RMC Supervisor - Silver Spring, MD
November 19, Webinar
Sales Performance Assessments and Review for Ready Mix Sales Managers
December 3-5, Phoenix
Environmental Professional Certification Course
December 9-12, Phoenix
December 16-18, Silver Spring, MD
CCSP Module II: Customer Business Knowledge - Understanding the Concrete Contractor's Business
NRMCA
Silver Spring, MD, 20910
Phone: 301-587-1400 Toll Free: 888-84 NRMCA (846-7622)
Email: info@nrmca.org
We would appreciate your comments or suggestions. Your email will be kept private and confidential.

redpajama_set_name: RedPajamaCommonCrawl


The Primo Grills & Smokers Ceramic Heat Deflector Plates is the tool that enables indirect cooking on Primo Grill models JR 200, LG 300 and XL 400. This is a set of two, one right half and one left half, and their use requires drip pan racks (sold separately). We highly recommend using heat reflector plates to achieve the best results when smoking meats.


text:
package org.springframework.social.oauth2;

import org.springframework.http.client.ClientHttpRequestInterceptor;

/**
 * Strategy enumeration where each value carries an interceptor defining how an access token is carried on API requests.
 * @author Craig Walls
 */
public enum TokenStrategy {

	/**
	 * Indicates that the access token should be carried in the Authorization header as an OAuth2 Bearer token.
	 */
	AUTHORIZATION_HEADER {
		public ClientHttpRequestInterceptor interceptor(String accessToken, OAuth2Version oauth2Version) {
			return new OAuth2RequestInterceptor(accessToken, oauth2Version);
		}
	},
	/**
	 * Indicates that the access token should be carried as a query parameter named "access_token".
	 */
	ACCESS_TOKEN_PARAMETER {
		public ClientHttpRequestInterceptor interceptor(String accessToken, OAuth2Version oauth2Version) {
			return new OAuth2TokenParameterRequestInterceptor(accessToken);
		}
	},
	/**
	 * Indicates that the access token should be carried as a query parameter named "oauth_token".
	 */
	OAUTH_TOKEN_PARAMETER {
		public ClientHttpRequestInterceptor interceptor(String accessToken, OAuth2Version oauth2Version) {
			return new OAuth2TokenParameterRequestInterceptor(accessToken, "oauth_token");
		}
	};

	abstract ClientHttpRequestInterceptor interceptor(String accessToken, OAuth2Version oauth2Version);

}


text:
Directions to Solve
Three of the words will be in the same classification, the remaining one will not be. Your answer will be the one word that does NOT belong in the same classification as the others.
1. Which word does NOT belong with the others?
A.	guitar B.	flute C.	violin D.	cello
A.	dodge B.	flee C.	duck D.	avoid
Below in each of the questions are given two statements I and II. These statements may be either independent causes or may be effects of independent causes or a common cause. One of these statements may be the effect of the other statements. Read both the statements and decide which of the following answer choice correctly depicts the relationship between these two statements.
Mark answer
(A) If statement I is the cause and statement II is its effect.
(B) If statement II is the cause and statement I is its effect.
(C) If both the statements I and II are independent causes.
(D) If both the statements I and II are effects of independent causes.
(E) If both the statements I and II are effects of some common cause.
3. =>Statements:
The Government has decided to hold a single entrance test for admission to all the medical colleges in India.
The State Government has debarred students from other States to apply for the seats in the medical colleges in the State.
A.	Statement I is the cause and statement II is its effect.
B.	Statement II is the cause and statement I is its effect.
C.	Both the statements I and II are independent causes.
D.	Both the statements I and II are effects of independent causes.
E.	Both the statements I and II are effects of some common cause.
Large number of Primary Schools in the rural areas is run by only one teacher.
There has been a huge dropout from the primary schools in rural areas.
5.=> Statements:
The university officers have decided to conduct last examination every year in March/April in order to announce the result at proper time.
In past the result was declared late by the University due to the lack of number of examiners.
The State Government has announced special tax package for the new industries to be set-up in the State.
Last year the State Government had hiked the taxes for all industrial activities in the State.
The government has allowed private airline companies in India to operate to overseas destinations.
The national air carrier has increased its flights to overseas destinations.
8.=>Statements:
The Government has imported large quantities of sugar as per trade agreement with other countries.
The prices of sugar in the domestic market have fallen sharply in the recent months.
9.Directions to Solve
In each series, look for the degree and direction of change between the numbers. In other words, do the numbers increase or decrease, and by how much
=>.Look at this series: 3, 4, 7, 8, 11, 12, ... What number should come next?
10. Directions to Solve
Each question has an underlined word followed by four answer choices. You will choose the word that is a necessary part of the underlined word.
=> Book:
1. View answer with explanation
5.view answer with explanation
10. view answer with explanation


text:
Q: crontab not working for deleting a old files from log folder I have this line in my crontab to delete old files:
1 * * * * find /var/log/abc/ -mtime +7 -type f -delete

Unfortunately, it does not work.
I have attempted to give all users permission to clear that folder using
chmod +777 /var/log/abc

But the chmod did not work. What else could I try?

Following the suggestions to log the output, I am finding that this is in the logs:
/bin/sh: 1: find: not found

So I think I need to set my path correctly...

A: As a good practice add the user who is going to execute this crontab.
1 *    * * *   root    find /var/log/abc/ -mtime +7 -type f -delete

Did you proved that the find is working properly outside of cron?
Try to execute it manually and see what happens, there's nothing wrong with cron.
As a second good practice try to log what cron does to syslog for example using logger:
1 *    * * *   root    find /var/log/abc/ -mtime +7 -type f -delete 2>&1 | logger -t cron_find_delete

The

2>&1

at the end is going to throw sterr and stdout to the logger.

redpajama_set_name: RedPajamaStackExchange


Dear Graham, please consider teaching and possibly manufacturing parts for your device and disseminating via an educational program. My dream is that people create these devices through a process of learning to supply food shelter, clothing and energy for cooking/heating etc. We could start an educational program that will inspire everyone to stand up and to learn and to build. It would initiate the beginning of Self empowerment and the giving forth the values of self responisbility, learning and knowledge and taking action/being of service. If the device is given to manufacturing and profit taking it will be disorted to satisfy the need for obsolescence or for example be leased and owned by the manufacturer/owner subject to control. I would love to learn with you and I would love to teach the technology. I beleive that past a certain point of technological development scarcity becomes a non-issue and service and learning become the main issues… Learning ones relationship to the universe and how it is that we have arisen and/or have been created..just as we create. And how it is that we can facilitate the process of development and becoming into deeper realizations of our nature…which is that of the Great One… Please consider contacting me with regards to disseminating this information. It is a powerful wish that I have that we save the biosphere of the planet and alleviate the fear and the scarcity.
Just watched your presentation of the OU transformer with interest – a diagram would be useful as this was not clear on the video. I may come back to you one this one later.
Of particular interest was the bit about the bifilar coil – this is almost exactly what was described by Wilbert Smith with his Caduceus coil (is there an qualitative difference between the 2 coils here?). The transmission of this (unattenuated) field (WS's 'Tensor' 'energy' though not really energy) would appear to be the principle behind dowsing fields and the function of 'intent' operating from the pineal gland.
If you are interested I could send you more info about this and perhaps you could help us bring more light to bear on the nature and engineerability of this seemingly quantum/subquantum field manifestation.
BTW the 3 kinds of E you talk about I see as due to the quadrature relationship within and between all EM phenomena – traditional electromagnetics fails to include the time (tempic factor) though it always remains included within the other EM expressions.
I am still struggling to get to grips with how torsion fields interact and at what level they operate at – possibly subquantum (in traditional terms) or at the virtual or precursor level. I believe Maxwell's original equations included these – but were subsequently eradicated by the Heavyside simplifications.
I believe that most of the inventions from the ES&T conference were originally inspired by Tom Bearden, John Bedini, and Peter Lindemann. These guys have been working together for a long time and are all on the same page.
While I am quite sure that much of what Bearden say has value – to those who can understand all of what he is saying- this does not include those of us who don't have the conventional physics and electrical engineering background that is prerequisite. It would be really good if the essence of what Bearden – and some others – say about electromagnetism was presented in a more simplified form that anyone with a general degree in the sciences could understand. Gladly there are one or 2 letters from Bearden to subscribers' questions that do explain some of his concepts in more general terms, but sadly not enough of these!
I don't think Graham has either the time or inclination to peruse this blog – this is unfortunate.
Tell me if that page the best advice I/we can give or if you have corrections or key insights to add. Also, I'm curious about how you would define Impedance? Is my attempt accurate here: Impedance (Z) consists of resistance (real part) and reactance (imaginary part – Max, think stress-energy tensor of B-field's scalar potential). Series impedance (Zs) can be defined as magnitude of series resistance (Rs) and series reactance (Xs) — represented mathematically as |Z|=√(Rs2+Xs2 ) at a phase angle Θ.
Hi John. The link you supplied in your post is broken (http://mysteriesoftheuniverse.info/Max/LRC_Oscillo.htm). Would you have an alternate link?
Drop off the final ) and the link will work.
Thanks John. That did the trick.
Just saw the video of the conference this summer. Not a lot of useful "build" information. You spent a lot of time discussing how others don't share so I hope you are different. Don't be afraid to share what you already know. There are a lot of very talented people out there that would enjoy this venture of discovery. Do you monitor these posts?
apparently not. sorry for the pessimism, i've been following "free energy" for 10 years and heard so many claims, promises that have been floating around for decades and what does the world have to show for it, nothing. Mostly because of the ignorance and greed of the inventor. Not saying you are part of that crowd but that is where my thinking tend to lead.
are you sure you don't monitor these posts? would be a step in the right direction.
I have asked Aaron Murakami about this circuit as well as Graham and he replied that the circuit diagram alone will not do any good and only serve to open up a pandora's box of unending problems and questions. They are working together to refine the design and package comprehensive detailed unequivocal information on how it can be reproduced before it will be released to the public.
Thanks for letting me know. Again, I'll see it when i believe it. There are a lot of talented people here that could take the design, as it stands now, and run with it. I'm still suspicious. Heard this too many times.
I have no doubt overunity exists, I just see the same "I'll release it soon" too many times to believe it now. I've followed and studied Tom Bearden's work and studied his motionless electronic generator patent and find it fascinating. Your commentary regarding intimidation's by higher powers is *exactly* why Graham shouldn't wait. The more he and is colleague work on it themselves, the more opportunity those powers have to intimidate him in to suppression. He needs to release what he already knows so we can work on it at the same time so suppression is impossible.
Hi Graham. This is Ed Becnel, the Free Energy Ambassador to UBNTU USA. I am trying to reach you to talk to you about your Magnetic Implosion Transformer. Can you please email me at: edbecnel@gmail.com and I can share my phone number with you? Thanks and looking forward to talking with you soon.
i don't think he monitors these posts. hopefully i'm wrong.
I've been told that Graham is a bit overwhelmed right now. Not sure if he is available to monitor these posts or not.


text:
The Definitive Guide To SM Station Season 1, And Every Song Reviewed (Part I)
SM Station Season 2 is here, so let's remind ourselves of all the previous Station tracks!
S.M. Entertainment spent 2016 working on a really interesting initiative, SM Station, which had the label release a single every Friday for a whole year. No other project has really reached the scale and ambition of Station in the K-pop world, thanks to the constant output of songs from the label, which featured a huge proportion of the company roster across a huge variety of genres, and even more brilliantly, collaborations with people outside of SM. Collaborations with other major K-pop labels, with huge brands, and with Western artists all happened thanks to the project, and many artists on SM got solos for the first time, to the joy of many fans.
SM Station Season 2 is warming up, and the company has cryptically promised a bigger emphasis on international collaborations, as well as the return of past projects like SM The Ballad, SM The Performance, or their seasonal Summer Vacation and Winter Garden projects. Let's have a look at all of the past Season 1 tracks in preparation for yet another year of songs.
Taeyeon – Rain
Station decided to open up strong, with a single from one of their most popular soloists, Girls' Generation's Taeyeon. The story goes that the song was supposedly added to the project unexpectedly without Taeyeon's knowing, but it certainly ended up being one of Station's most high-profile tracks regardless. To date, it is the most successful Station track, with over a million digital copies sold.
The track develops more of the acoustic feel she tried on her mini-album I, adding additional elements of jazz and soul. Like all of Taeyeon's tracks, the chorus serves to showcase her powerful belt vocals to great effect. It's not difficult to see why the song did so well since its modern, upbeat ballad feel appealed to both the domestic Korean public and international K-pop fans.
Yoo Young-jin x D.O. – Tell Me (What Is Love)
This track is actually an extended update of a short solo track D.O. had during EXO's first tour. A duet with SM veteran, Yoo Young-jin, it's a casual reminder that D.O. is one of the more proficient R&B singers on the label. He's always had an immediately recognizable voice in EXO's records thanks to his deeper, fuller tone compared to the lighter timbres of Baekhyun's or Chen's voices, as well as his agile R&B-style runs. "Tell Me (What Is Love)" doesn't hugely deviate from the R&B style that EXO work within their music and the minimal backing of acoustic guitars and 00s saw synths serves as a perfect vehicle for showcasing the brilliant vocals across the track.
Kenzie x Yoon Mi-rae x Matthew Tishler – Because of You
The first of the Station projects to feature a non-SM artist, and how better to start out then to enlist the help of Yoon Mi-rae, one of South Korea's most renowned singers and rappers. The song is a fairly standard ballad, but a lushly orchestrated and achingly beautiful one nevertheless. Two hugely prolific songwriters for SM were involved on the track, Kenzie (EXO's "Wolf", Girls' Generation's "Oh!") and Matthew Tishler (EXO's "Sing For You", BoA's "Don't Know What To Say"), and the strength of their writing shines through.
Eric Nam x Wendy – Spring Love
One finds that the SM Station tracks tend to be very seasonal. The songs gravitate towards certain genres during different points of the year, and many of the spring Station tracks are ballads or acoustic ditties to suit the mood. That description definitely suits the Eric Nam and Wendy duet, "Spring Love". The spare, acoustic guitar track is as straight forward a duet as it gets, and thankfully has a strong charming melody to carry it. Eric Nam's voice is surprisingly light and high for a guy and suits both the whimsy of the song and Wendy's slightly warmer, R&B-oriented voice.
The song unexpectedly became of the project's most popular songs, just behind Taeyeon's "Rain", despite getting pretty much no promotion whatsoever. It's perhaps a sign of both Eric Nam's and Wendy's untapped star potential.
Yoona (feat. 10cm) – Deoksugung Stonewall Walkway
Another floral springtime affair, this Station track pairs Girls' Generation's Yoona with indie duo, 10cm. Yoona is one of the less utilized members of the ultra-popular girl group, and the song showcases one of Station's principles that has many underappreciated people on the label given the time to shine. There's nothing particularly complex about this song, but it's both cute and suitably cheery. The budget on these Station tracks is probably not that big hence simple and digitally strong releases become the norm.
If people are curious about the obtuse name of the song, Deoksugung Stonewall Walkway is one of the more famous roads in Korea thanks to a myth that accompanies it: couples who walk along the road will eventually break up. The lyrics turn the myth on its head, saying that even walking on the road won't break them up.
Heritage x Jonghyun – Your Voice
Another springtime coffeeshop ballad, this time with a few more jazz inflections. SHINee's Jonghyun comes off as understated throughout the warm, lounge-style track, taking turns with members of Heritage, who also provide flawless harmonies at points (and a captivating acapella bridge towards the end). The uncomplicated arrangement and live-style mixing leaves everyone's vocals sounding fairly organic and bare, which is fine since everyone happily carries a tune with no difficulty whatsoever. It's not one of the more exciting Station releases especially when surrounded by other similarly relaxing tracks, but it's certainly one of the most pleasant.
Curiously, this was one of the few Station tracks without any form of promotion or music video whatsoever (the other notable one was also one of Jonghyun's Station tracks). It's difficult to say why, but one assumes that the second season of Station will hopefully be a bit more organized on this front.
Amber – Borders
Probably the first Station track to be a bit faster and non-traditional. It's a vast departure from the likes of "Shake That Brass" and one can tell that Amber has been trying to release more serious music such as "Borders". Many of Amber's recent solo tracks have been self-organised, although that may also be due to the lack of attention that SM has been giving her.
"Borders" ended up being a polarizing release. First of all, it's entirely in English, and many of the lyrics ended up being awkwardly delivered at best. While you can tell how personal the track is, the general trend of Amber actually being a better singer than a rapper comes up once again. The 00s vibe of the anthemic chorus works pretty well on the track, and it sees Amber sing far higher than she usually does and bring out some interesting tones in her voice. Overall, it wouldn't be difficult to imagine hearing this on American radio in the late 00s along the likes of huge Kelly Clarkson ballads, or as a substitute "Love The Way You Lie". Despite some of the flaws of the track, it's easy to see the potential the track has all around (and some of her later releases like "Need To Feel Needed" perfect that formula).
Moon Jung-jae x Kim Il-ji – Regrets and Resolutions
One of the interesting things about SM Station is that it seems that its main aim hasn't been profit. More than anything, it has served as a public relations project: cross-company relations, internal relations with idols, having a constant public presence every week, and diversifying their image. This song fits into that last category, showing off more to the company than just their idol groups.
"Regrets and Resolutions" sees pianist Moon Jung-jae team up with flutist Kim Il-ji to deliver a surprisingly compelling contemporary piece. It manages to avoid being complete fluff as many pseudo-classical pieces can tend to be, but has also got a strong positive response from people online that one wouldn't usually expect from something so out of the realm of pop music. For some, the plaintive opening section with its rolling piano backing may conjure the likes of The Legend of Zelda or Studio Ghibli films.
Perhaps the highlight of the whole thing is the piece's contrasting B-section, which features an elastic, leaping flute melody which is genuinely incredibly catchy. It appears abruptly twice through the piece, marked by a sudden change in tempo (and the second time it comes around, it's just introduced by three bashed, weird chords). It's potentially one of the most unorthodox releases of the entire project, but certainly not one to skip over.
Vibe x Chen x Heize – Lil' Something
With "Lil' Something" sees the first danceable, upbeat Station track. The Vibe-produced duet between EXO's Chen and upcoming star Heize is a straight-up disco and funk affair. Chic-style guitars and a ferociously energetic bassline make for an irresistible combination (as the likes of "Get Lucky" proved in the West), and it suits the two incredibly well. Chen has a fairly versatile voice compared to other vocalists in EXO and shines on the song's groove, while Heize uses the track to showcase both her singing and rapping. Not all of the Station tracks are so straightforwardly fun, which makes "Lil' Something" one of the more unique ones to come out of it.
M&D x Wheein – Narcissus
Station managed to remind everyone of all the acts on the label that people may have forgotten about. "Narcissus" marked the return of the oft-overlooked M&D duo, i.e. Super Junior's Heechul and TRAX's Jungmo. The two indulge in old-school soft rock and trot music, and generally things you wouldn't be surprised to hear during very dramatic K-drama scenes. This time, the two were joined by MAMAMOO's Wheein, one of the stronger vocalists in the industry (and, indeed, her ad-libs towards the end of the track are incredibly impressive, and manage to keep up with Jungmo's wailing guitar lines). One would be forgiven for thinking it's just another ballad but if melodrama is what you're looking for, then you're in the right place. The most surprising part of the song by far is the hard rock, modal breakdown in the middle, which is a little reminder that Jungmo and his guitar is as important a part of the music as the vocalists are.
Kim bum-soo x Kenzie – Pain Poem
It's fitting that the first person to have a repeat Station was SM's most prolific songwriter, Kenzie. R&B and soul singer Kim bum-soo is well-suited to the emotive, melancholic ballad. It's interesting to hear this song in the context of "Narcissus", the Station the week before it, since they're both ballads, but are executed in two very different ways. "Pain Poem" is driven mostly by Spanish-style fingerstyle guitar, which is often just as intricate and melodic in nature as the vocals. There are three or four elements at most in the track (vocals and guitar, which are joined halfway through by strings and light percussion), which adds to the sense of intimacy. At the very end of the song, the penultimate bar suggests a resolution to a homely major chord but instead leaves the melody hanging and goes to a minor chord first, which is a nice, dramatic trick to add in.
Inlayer – MINDJACK
The unconventional Station releases continue. If the company was trying to prove their diversity, Station has certainly done that in heaps. Inlayer, a 4-piece metal band, were given a guest space on the Station schedule all to themselves, adding a little bit of edge to SM's pink and sweet Youtube channel. The track itself is a pretty serviceable piece of progressive metal, with a few elements of djent thrown in. It's worth noting that's surprisingly light for a metal track, perhaps to appeal to the wider audience that releasing onto a platform like SM has provided them with. The mix of electronics, very melodic guitar and pretty non-abrasive and clean bass actually makes this a much easier listen for people who haven't listened to metal than one would expect.
R3hab x f(Amber+Luna) – Wave
2016 saw a lot of new things for S.M. Entertainment in general. Alongside SM Station, the company also launched their ScreaM Records EDM label. "Wave" is a little taste of what that label is being used for, and it's pretty promising. Having a specialist sub-label like ScreaM Records allows SM to experiment more with their music without conflicting with main releases (in many ways, matching the philosophy of Station too).
"Wave" is the first Station track to feature a big Western name, with DJ, R3hab. It's surprisingly impressive that the label roped in such a well-respected and international artist, and makes the company's claims of more international collabs for SM Station Season 2 to be even more exciting. You can see why f(x) members Amber and Luna have been roped onto the track, since the group has always had an affinity with electronic and dance music, especially after 4 Walls. It's not the most revolutionary electronic track anyone's ever heard, but it's unabashedly fun, Luna's and Amber's vocals shine on it, and it sounds ready to play to a bunch of people who don't realize it's even in Korean at Ultra Music Festival.
An alternative remix produced by Xavi&Gi (a Costa-Rican and South Korean duo) was also released on ScreaM Records as well, which is refreshingly new for K-pop. Remixes have never been a big thing in the Korean pop industry as opposed to in the West, so the shifting attitude to that is interesting to see.
Baekhyun x K. Will – The Day
"The Day" sees EXO's Baekhyun pair up with K. Will. K. Will is pretty renowned for his strong ballad-centric voice, and Baekhyun is basically known for the same thing. The 00s Brit-rock style of the song — the crystalline guitars and reverberating strings — gives it a suitable sense of gravitas, which is fairly important when the two are creating vocal fireworks across the top.
It takes a while for the song to really climax, but when it gets there, it's incredibly effective. Two strong male voices in harmony is a rarity but works well here, and the two bat solo parts between each other with immense intensity.
Dana – Touch You
Many people may not be aware of SM's soloists. Dana is likely a completely unknown name to most, but she's a veteran of the company (most well known as part of the group The Grace). After who knows how many years, she's has been given a song, one of the beautiful things about Station. Dana's been involved in a lot of musical theatre in recent years, which made this song pretty self-explanatory. The dramatic, heartstring-tugging strings, soaring melody, and touch of whimsy (take the out-of-nowhere upbeat frenetic piano near the end) are touchstones of the genre, and she makes it work well. The sheer number of ballads in SM Station is mildly overwhelming but, for fans of them, the quality luckily does not drop at all.
Lay – Monodrama
Lay's Station feels very interesting in the whole scheme of things. He's the last Chinese member in EXO, and a variety of factors have always made his presence in the group fragile at best: Korean-Chinese politics and Lay's health, to mention two significant factors. He had clearly been clamoring to release some solo material, and Station is the perfect outlet for that. The project functions as incredibly good public relations and little things such as this is bound to keeps lots of people in the company (who would otherwise feel underappreciated) happy.
The song itself is another non-Korean-language release (and the success of "Monodrama" on the Chinese charts showed Station's presence across the whole digital platform), and a self-composed one as well. It's a fairly simplistic but compelling R&B ballad, driven by a deft guitar line. Lay is not the strongest singer in EXO, but has a clear tone not often heard on intimate tracks like this. The most interesting part of the track is the traditional Chinese instrumentation that comes in quite prominently at the very end: an unorthodox twist to the traditional R&B formula.
Yoon Jung-soo x Kim Sook – You're The Boss
Yet another one of the more bizarre SM Station tracks, featuring comedians (neither linked to S.M. Entertainment at all) Yoon Jung-soo and Kim Sook. This seems to mostly function as an advert for the company's karaoke app, Everysing. Neither's what one would call a trained singer, per say, which makes for an interesting song. That said, both of them have a relatively husky, rich tone, which suits the genre: straight up trot music, Korea's traditional musical pop form. There's actually not a lot to say a lot about the track since it's as archetypal as a trot song can get. For fans of trot who want more, Heechul and Jungmo's duo project will certainly satisfy you.
Tiffany – Heartbreak Hotel (feat. Simon Dominic)
With "Heartbreak Hotel" makes the next Girls' Generation member to feature on SM Station. The song was originally supposed to be on Tiffany's debut EP, I Just Wanna Dance, which is immediately obvious. It keeps in line with the moody pop songs inspired equally by Western 80s synthpop and 90s R&B that gave that EP its unique vibe (one that didn't end up being that popular in Korea, just because of how foreign it was to the domestic audience). If anything, this Station track probably expands on that vibe, being moodier, more nocturnal and now adorned with an off-kilter rap verse courtesy of Simon Dominic. While this song unsurprisingly didn't see a lot of success in native Korea, it's still one of the most viewed Station releases, and its international appeal is palpable. Its chorus is laden with melancholy, and the production is gloriously dramatic.
BoA x Beenzino – No Matter What
Following Tiffany's song is another one of the most Western songs in the entire Station catalogue. The whole idea that American pop trends cross over to the K-pop market some time later tends to be true, although it's usually SM artists that play more straight to the original trend. Here, we see BoA tackle tropical house pretty well, with her nimble voice well-suited to the breezy atmosphere of the song. It is a slightly more organic take on the genre, since guitars fill out the track, and the tropical drop's distorted vocals are doubled by breathy relatively unprocessed panflutes. It's also really interesting to see a veteran artist like BoA paired with a fairly new rapper such as Beenzino, who excels on light-hearted tracks like this (especially after being on tracks of similar whimsy such as "Mannequin" with Primary and Suran, or his own breakout hit, "Dali, Van, Picasso").
Additionally, this outing into trop-pop marks the first properly summery Station track. The strategy of releasing songs appropriate to the season is both obvious to see and effective since it helps maximize the digital selling power of those songs.
Lee Dong Woo x Orphée Noah – Definition of Love
A left-field collaboration between Swedish jazz musician Orphée Noah and comedian/singer Lee Dong Woo, "Definition of Love" ends up being a surprisingly endearing weird little tune. While it starts off as a Disney-esque romantic neo-soul sort of thing, Lee Dong Woo's robotic mantra of a refrain interjects out of nowhere. Most curiously is when Orphée starts singing a completely different (slower and more intimate) melody at the same time, and the two eventually link up at the end of their phrases. The song definitely requires a few listens to really capture every element: besides the voices, both the percussion (varied and chaotic) and the piano (light and effortless) are doing radically individual and intricate things as well. The overall result is an instrumentally light, but musically dense track.
It's amazing how actually diverse the releases on SM Station Season 1 ended up being, with one-off oddities feeling like the norm rather than the rare exception. One hopes that SM keeps this up for their second season.
Leeteuk x Suho x Kassy x Cho Yeongsu – My Hero
Not entirely the most interesting Station track of the bunch, but is rather charming. It's essentially a tribute to Korean athletes (nicely timed just before the Olympics in Brazil last year). It features both the leaders of Super Junior and EXO, Leeteuk and Suho. It also rather curiously features fairly unknown solo artist, Kassy (and also a bunch of athletes singing as a backing choir). It's as straightforward as an orchestral ballad gets — lush string arrangements, with tactical helpings of horns and guitar — and suits the montage music video rather well. Others online have humorously compared it to an old-timey Korean Christian track, which one could take as they will.
J-Min x Sim Eun-jee – Way Back Home
Yet another of SM's tragically underutilised soloists, J-Min finally is starting to get some more tracks, including a spot on SM Station. Somewhat like Dana, J-Min excels at melodramatic ballads that stem from the tradition of musical theatre (J-Min stars in the musical adaption of Boys Over Flowers this year). J-Min's delicate vibrato (although, one should note that she does have a surprisingly powerful voice and is very capable of sustaining certain notes with suitable gravitas) fits the song very well, making her one of the more successful balladeers across SM Station's attempts.
Interestingly, the video features Red Velvet's Yeri. While she doesn't quite have the strongest voice amongst SM's acts, it's promising to see even those who didn't end up with songs participating in some way or another.
Cha Ji-yeon x LDN Noise – My Show
While technically a Western collaboration, it's not that unexpected, as LDN Noise are one of the main names working behind the scenes for S.M. Entertainment. The London-based duo's UK-influenced dance production has seeped into a huge number of songs for almost every SM artist, and it only makes sense to have them feature at least once on Station. "My Show" pairs the producers with Cha Ji-yeon, a musical actress and interesting departure from the SM acts LDN Noise usually produce for. Compared to the likes of f(x) or SHINee, Cha Ji-yeon delivers her lines with a playful, theatrical manner, giving it the feel of R&B-inflected US garage. The fast, almost-rapped second verse evokes the likes of Wicked's "Popular", a musical Cha Ji-yeon was involved in, as does the chorus' insistence of "I need a show". The whole effort quite spectacularly ends up being one of Station's most overtly poppy, Western and energetic releases.
f(x) – All Mine
Let's follow up one of the project's danciest songs with…another one! f(x) have been deathly silent lately with "All Mine" being one of the only reprieves to that. It's another outing into f(x)'s rejuvenated affinity for dance music. Where 4 Walls dealt with UK dance music, "All Mine" is firmly festival-ready American-style EDM instead. It's a sound fairly new to both K-pop and to f(x), but it feels like a very natural progression to what they've been doing. It's pretty much as straight-forward a track as you expect, with an anthemic beat, a stomping house hook and enough reverb to fill a stadium. It's a track that Luna shines on a lot, thanks to her bright and clear soprano vocals that shine above the flurry of synths present. Every element fits quite happily, including Amber's rap which interestingly acts as an extended pre-chorus (and hence feels like a natural momentum builder, rather than something just shoved into the song).
NCT 127 x Coca-Cola – Taste The Feeling
Ah, yes, a collab between NCT 127 and, uh, Coca-Cola? Indeed, one of the interesting things to come out of Station is the few tracks that are actually collaborative efforts with a company rather than another artist. In this case, we have a surprisingly high-profile commercial for Coca-Cola (which also doubles as promotion for the Olympics). It is pretty much a cover of the song of the same name that was made for the Coca-Cola campaign in the west by Conrad Sewell so isn't the most interesting song to talk about. That said, their voices work well on the track and it's good to see such mainstream promotion of SM's newest group.
Girls' Generation – Sailing (0805)
"Sailing" was a celebration of Girls' Generation's 9th anniversary. It's not a revolutionary song by any means, but a very beautiful tribute to the group's distinguished career. It's a delicate, Disney-style piano-and-strings ballad — perhaps the most straight-forward ballad in the entirety of Station — that helps showcase the group's strong dynamics. Two of the group's more underutilised vocalists (Sunny and Sooyoung) are refreshingly given plenty of time at the forefront this time, to the extent that Sunny actually gets more lines than Seohyun, one the group's main vocalists. The wistful refrain of "Sailing into the night" works incredibly well, as does the bridge which instead of building to a climactic last chorus instead quietens down to the bare minimum of vocals and piano. It's somewhat fitting that at the centre of SM Station Season 1 is perhaps the company's most influential and celebrated group. 2017 marks Girls' Generation's momentous 10th anniversary, making them one of the longest running K-pop groups in the entire industry, and fans can expect plenty from them this year.
Let's quickly go back to how Season 2 has been going so far. It's unsurprising that S.M. Entertainment has brought back the project for a second year in a row: the first year was deeply successful from the perspective of fans and clearly, despite the amount of resources that went into it the first time around, the company believe it's worth it to keep it going. Everything is more polished, shinier — take the new intro and fancy new logo, for example. We've already seen the first international collaboration with world-renowned jazz musician, Stanley Clarke, and a solo comeback from BoA with her current popularity on the second season of Produce 101. The quality and quantity of content are undeniably better this time around, which is in itself an impressive feat. One of the complaints about Season 1 was some of the sloppiness behind certain releases (delays and music videos that never materialised were a problem that did plague it from time to time), and Season 2, a month in, has so far done so well as to avoid those issues. One can only hope that it keeps up like this, because the whole project remains one of the most refreshingly unique initiatives in the industry at the moment.


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text:
Проект 52 — проект транспортной системы большой грузоподъёмности, разрабатывавшейся в начале 1980-х годов в ОКБ Мясищева.

Описание
Главной целью проекта была разработка системы воздушного старта многоразового воздушно-космического самолета быстрого реагирования. Взлётная масса системы должна была составлять 800 тонн. Самолёт должен был транспортировать грузы  массой до 500 тонн, диаметром до 12 м и длиной до 50 м.

Для максимального снижения веса было решено вообще отказаться от фюзеляжа. Такое решение предъявляло особые требования к прочностным свойствам самого груза, поскольку груз должен был выдерживать нагрузки, которым в обычных самолётах подвергается фюзеляж. Решение отказаться от фюзеляжа вынудило конструкторов использовать для проекта тандемную аэродинамическую компоновку. Груз должен был располагаться посередине между двумя крыльями.

Для крепления грузов предполагалось использовать кольцевые фермы, адаптированные для конкретных случаев. Для перевозки пассажиров планировалось использовать специальный пассажирский модуль, вставляемый между секциями самолёта.

Проект не вышел из стадии разработки.

Ссылки

Тандемы
Нереализованные проекты самолётов
1980-е годы в СССР
Самолёты Мясищева
Экспериментальные самолёты СССР

redpajama_set_name: RedPajamaWikipedia


text:
Religious Beliefs In Palau
A small church in Palau. Editorial credit: photosounds / Shutterstock.com.
The island nation of Palau is located in the Pacific Ocean and is part of Micronesia. Composed of 340 islands, Palau has a total area of 466 square km and a population of about 21,431. Indigenous Palauans make up 73% of the country's population, and various Asian populations, especially from the Philippines, China and Korea, account for a combined 21.7% of Palau's total population. Carolinian and Caucasian populations represent 2% and 1.2% of Palau's total population, respectively.
Religious Populations in Palau
According to the CIA World Factbook, Christianity is the predominant religion in Palua. In particular, Roman Catholicism is the most common Christian demonimation in Palau and is practiced by 45.3% of the population. 34.9% of the population adhere to various Protestant denominations, as Evangelicalism, Seventh Day Adventist, Assembly of God, and Baptism account for 26.4%, 6.9%, 0.9%, and 0.7% of Palau's population, respectively). 5.7% of the country's population practice the indigenous monotheistic religion, Modekngei. Islam, Mormonism, and other faiths are practiced by 3%, 1.5%, and 9.7% of the Palau's population, respectively.
History of Religion in Palau
Prior to the arrival of the Europeans, Palau was primarily inhabited by indigenous Micronesian tribes that practiced polytheistic religions. The first Europeans in Palau were members of a Jesuit expedition from the Spanish Philippines led by Francisco Padilla that reached the islands in 1710. Although the Jesuits initially experienced misfortunes including shipwrecks and deaths, Spain took interest in the islands and sent Catholic missionaries to introduce Roman Catholicism in Palau. During the Second World War, Palau was occupied by Germany, and later Japan. While Germany sent both Roman Catholic and Protestant missionaries, Japan attempted to spread Buddhism and Shinto throughout the islands. After Japan was defeated in the Second World War, most of the Japanese population that had settled in the country converted to Christianity, while others left or continued to observe Buddhism. During the US colonial era in Palau following the Second World War, various Protestant Christian denominations were promoted in Palau.
Traditional Religion of Palauans
A segment of Palau's population practices Modekngei, which is a hybrid of ancient Palauan customs and Christianity. The religion rose to prominence around the time of the First World War, and is a religious movement that was started by an indigenous Palauan named Temedad. Followers of the Modekngei faith accept Jesus Christ as savior, but also observe indigenous rituals and customs of traditional deities. Some of the practices of Modekngei include leading a lifestyle based on purity, with strong attachments to the family and the community. Alcohol and drug use are prohibited by the religion. Church attendance is also high among followers of Modekngei.
Oishimaya Sen Nag November 12 2018 in Society
10 Interesting Facts About Palau
The Culture Of Palau


Though this is somewhat unrelated to my project, it is also very related, and I wanted to take this opportunity and platform to thank all the amazing coaches I've had in basketball.
Today is Basketball Coaches Day in Canada, and I really wanted to thank all of the amazing people who have helped me in the sport over the past 6+ years. You have all given so much time and effort to helping grow the sport and helping individual athletes like me develop in the game. I really appreciate all that you put in, and everything that you've done for me.
As I think my eminent person would agree, the coaches and mentors that you have along the way truly help you become the person and player you are. It wouldn't be possible without them. It really does take a whole village to raise a child, athlete, and basketball player.


Truth for Fiji - NO academic freedom and NO freedom of speech under Frank Bainimarama's dictatorship!
Dr Esther Williams and Ashwin Raj provide even more proof that FIJI has NO academic freedom and NO freedom of speech under Frank Bainimarama's dictatorship!
Fijileaks reports that the University of the South Pacific has issued an ultimatum to Patrick Craddock of the USP Journalism program to sign a statement that would effectively silence him from talking to the media.
Dr Williams's situation is not unique. It highlights a general sentiment across Fiji where most people are afraid of upsetting the criminal dictator bainimarama so they will do any say anything to appease him. if they dont appear to support the criminal dictator then they risk receiving a beating or some form of vengeance. So to survive the people lie to Bainimarama by telling him how wonderful he is and how much they love and support his corrupt leadership. MEanwhile, the people wait for the promised 2014 elections to show who they really support and want as their leader - and it is NOT Bainimarama and khaiyum.