text:
BLUE & LONESOME
Recorded:
December 11-15, 2015: British Grove Studios, London, England
Overdubbed:
April 2016: British Grove Studios, London, England
The Parlour Recording Studio, New Orleans, USA
Mixed:
Henson Recording Studios, Los Angeles, USA
Producers: Don Was & The Glimmer Twins
Chief engineer: Krish Sharma
Original label: Polydor Records
Contributing musicians: Mick Jagger, Keith Richards, Charlie Watts, Ron Wood, Darryl Jones, Chuck Leavell, Matt Clifford, Eric Clapton, Jim Keltner.
Just Your Fool
Commit a Crime
Blue and Lonesome
All of Your Love
Everybody Knows About My Good Thing
Ride 'Em on Down
Hate to See You Go
Hoo Doo Blues
Just Like I Treat You
I Can't Quit You Baby
I thought blues album = blue! Obviously. So then (the record company) sent me a blue, and it was all kind of grey and wishy washy. I said No, it's got to be bright, really blue, electric blue. So that's why we came up with that color. I think it works.
- Mick Jagger, October 2016
The first discussion of recording came when I went to see the Stones play in Detroit on July 8, 2015. Then seeing Mick and Keith individually, they both expressed a desire to get back in the studio after that leg of the tour. By December, we were in London with a batch of new songs. Keith was first through the door usually. We started in the late afternoon - gentleman's hours - and were probably done by 10 or 11 every night. The way they've always set up - I think even when Glyn Johns recorded them - it's like a stage, with Charlie between Ronnie and Keith, and the bass on stage left, keyboard stage right. Mick would be facing everybody. But this time, it was a bit more like a semi-circle.
- Don Was, October 2016
We went in to cut some new songs, which we did. But we got on a blues streak. We cut 11 blues in two days. They are extremely great cover versions of Howlin' Wolf and Little Walter, among other blues people... When we heard them back after not hearing them for a couple of months, we were, Who's that? It's you. It sounded so authentic.
- Ron Wood, April 2016
We did sessions in London in December which suddenly gave us a whole load of stuff. In fact, the Stones have never cut so many tracks in such a short time.
- Keith Richards, April 2016
It was a little more than 3, I think it was 5 days (laughs) but we won't quibble about it. It kind of dripped off the fingers. The band knows this stuff so well and hadn't played it for so long that they were just ready. All you had to was push play and off we went. And to me that's the great beauty of this record - no sweat.
- Keith Richards, October 2016
We'd gone in the studio to start cutting some new songs. Around day three we just hit a wall and Keith suggested that, to cleanse the creative palette, we play Blue and Lonesome, the Little Walter song. Fortunately we ran the tape and it was just awesome. The whole mood of the room changed dramatically in those three-and-a-half minutes. So we said, Let's do another one, and let's do another one. They just called songs off that they knew and loved. It was very spontaneous. And by the end of the day we had six.
- Don Was, September 2016
(The band was) a little unsure of the studio and the sound of it... I know the Rolling Stones. I know that recording new music in a room they're not familiar with, there's sometimes going to be weeks before the room breaks in. The room is fighting me. It's fighting the band. The sound is not coming... I looked at Ronnie and said, Let's put a hold on this new stuff while we try and figure things out and get the room warmed up. O.K.: "Blue and Lonesome"... Suddenly the room is obeying and there's something happening – a sound is happening and it was so good... And then, That was damned good, man! Mick turns around and says, Let's do Howlin' Wolf's "Commit a Crime" — and it really just led from there. No preplanning, no real instigation. Suddenly Mick just jumped on this train that he's so good at... It just bloody happened. That was the amazing thing and the beauty of it.
It's a pretty good set up (at British Grove). You know, studios nowadays are a bit like walking into hospitals. We had to funk it up a bit. It didn't really feel like it was going to be exactly the kind of climate that we needed to play songs in. We had to break it in, both physically and with our amplifiers. Just play the room in and move things around.
- Ron Wood, October 2016
(British Grove) is an incredible studio with a custom-made Neve 88R in Studio One where Blue & Lonesome was recorded. It also includes two old EMI mixing consoles: a very rare tube desk from the 1960s, like the ones used by George Martin and the Beatles, and a later console on which the album Band on the Run was recorded.
- Don Was, 2016
I didn't even have time to change my guitar. They were coming so thick and fast. It was like, OK, let's do it – this one, that one. Some of the harder riffs were making my fingers bleed, and Mick was going, Come, let's do it again, then! And we'll go, Hang on! My fingers! It was real hard work, but I love it.
It was just like the Stones in the early days when you used to hear them do I'm A King Bee and Walking The Dog. It was a complete accident that it happened. It was just on the spur of the moment, very spontaneous. We suddenly had an album in two days which it's a real kick up the pants for you, it's great.
I just followed Mick's enthusiasm. I was letting the man roll. I was keeping my fingers crossed Mick didn't get bored halfway through – What are we doing cutting blues? Once he got going, it was fascinating to watch. I've never seen him so intense on putting it down and getting it right and also making it much more part of the band than usually happens.
It's bloody hard to write songs. Here, instead of grinding out just one song, you'd do three or four. And the next day you do another three. Nobody bothered with retakes – it wasn't conceived as an album.
- Charlie Watts, October 2016
It was funny because I'd been speaking to Don Was about doing a blues album already. And my idea of doing it was that it was going to be really relax because we do these blues in rehearsal. So we go into rehearsal... we would play blues versions and we played Commit a Crime, for instance, and we had played Blue and Lonesome. And I said Well we keep playing these tunes, maybe we should record the rehearsals a bit better. And then there's no pressure... So I actually mentioned that to him, very recently... I think that it was all kind of waiting to happen at a certain moment and then the moment came. And so that was all good.
I got a text from Mick saying The blues tracks are really sounding good. And I thought, is this from the Jagger that I know? Because he never, never says that things are happening well.
(After the first day) Don Was said to me, Can you go home tonight and make a list of what we're going to do? If we're going to do more blues, you'd better make a list... I just went into my computer and went into the blues songs I had in there... and I made a list of what I thought we'd do that day and wrote it down and went into the studio and I just shouted out Let's do this. And if people said Yes then we did it, and if people said Oh, I don't know about that one, I'd say OK, then this one, because I had enough.
All these songs, I mean, I'm not sure everyone knew all these songs, it's not true. Ronnie said Well I never heard that one and I'm not really familiar with that one... Hoo Doo Blues, for instance, I don't think Ronnie was terribly familiar with that... But most of them were stuff that we played since we were teenagers, to be honest. They're not the most well-known ones but they're all on those famous albums, aren't they?
Just play it to me once and in the deep end!
- Ron Wood, November 2016
There's a few songs that are on the running order (of the album) there that I'd never heard before. But I said, You just play the song to me once and then start rolling the tape and I'll cut it - my way... Keith and me, we've been there and done it. It doesn't have to necessarily have been on that song but we'll make it our own approach.
I tried to pick the ones that were not overly familiar to blues fans. They're not the ones we've done over and over. I tried to find slightly obscure ones, to make the song choices as varied as possible – different rhythms, different emotions, different feels, different time signatures.
We didn't want to do the obvious ones. And also we started to scratch our own brains about who could come up with the most obscure (laugs) record. Mick came up with Lazy Lester and I came up with Ride 'Em on Down, I think. We were actually testing each other's collective memory.
- Keith Richards, November 2016
I tried to pick slightly unusual numbers. As we'd done a Little Walter one, Blue and Lonesome, I thought we'd do some more. They seem to come off, the Little Walter tracks.
Paul McCartney and Rod Stewart are great artists, but Bob Dylan is kind of a blues singer, among other things. A bit like the Rolling Stones, he doesn't only do blues. If we had gone another day, my next list would have included some Bob Dylan blues songs. Think of those ones like Pledging My Time or one of the fast ones, like Tombstone Blues.
We've never cut so many tracks in such a short time, but that's not necessarily a guarantee of a good record... (M)ake no mistake, the recording over the three days was emotionally draining for the band.
Not for a minute did we think we'd keep it up for three days.
The thing is for me - I'm sure for all players, all instruments it's the same - but for harmonica it's to get the sound that I want to hear on the headphones, you know. It's not really about acoustics, playing harmonica. It's about putting thre harmonica through amps and echo effects and overdrive, compression and everything.
Eric Clapton was recording next door. He just walked over and he had the same reaction as everyone else did. His jaw just dropped. Picture the Rolling Stones just set up in a circle in one room, the amplifiers are blaring. It reminded him of when he was a teenager, going to see the Stones playing in Richmond. He was just in awe, so he just grabbed one of Keith's guitars and started playing. It was quite a thing.
We maintain that Eric never plays as good as when he plays with us. Something comes out of him. He likes to be a part of a band I think it is.
(It was) an exercise in sprezzatura. You've got to concentrate, but it can't sound like it's difficult. And it doesn't... It's not like rock music or programmed drum music. It pulsates in a very weird way, where each bar is different. And that's what's interesting about this kind of music when it's played properly. It has a swerve, and it has a dynamism about it.
(Mick Taylor) would have analysed it too much I think. He would have dithered around too much. What he does best is play. Talk about it? No.
On some of these, I sound quite old, and on some of them, I don't. Some of it sounds like when I was in my twenties doing this stuff. I didn't really mean it to sound like that. I was supposed to be more mature!
It was only at the end, when we'd got 12 tracks and Don Was and I were talking together, and Mick was there and he was saying, This is an album. You can't chop this up.
We realized it was good but even when we finished them, we didn't say This is an album. It took us another couple of months of listening and saying, You know you can't break these things up - this is an album.
There's no overdubs on it. A piano was added later, I think - a bit of piano. They're much better when they come out of the studio for me, they're much rawer and better. And this actually held up all the way through because we didn't put anything on it actually.
I've never made a record with less overdubs than this. I mean even our first record I probably overdubbed all the vocals. So I haven't overdubbed any of the vocals on this.
- Mick Jagger, September 2016
I was back in the U.S. during this time, and when I heard about it I was, Oh man, I didn't get to go in. On the Latin American tour, Keith says you gotta come to my room and hear this stuff. It was amazing. He said, Chuck, we'll get you on this stuff. A week or two later, Mick said the same thing – It wasn't planned, we didn't mean to do this, but we want you on it. So I went to New Orleans with Don Was, the producer, and worked in a really great studio, The Parlor, with a fantastic upright piano. They wanted all the sounds to be authentic, and that's the case... I overdubbed my parts in six hours...
- Chuck Leavell, December 2016
It does feel like a live piece. But it's not live like it's in a club live. That's a whole different thing. You know, if you think "it's just played"; yes it is just played but you're using so much electronics to recreate the sounds that you want to hear. And you've got so many kinds of echoes, you have so many kinds of reverbs, you have so many kinds of distortions - there's a lot of electronics in this. And there was in the original records.
I just looked back at the original records, and we wanted some of these moods. Every track is different. We all thought it was going to be easy but it wasn't.
- Mick Jagger, October 2016, on mixing the album
The whole thing about this particular kind of record was trying to get as cohesive a sound on everything — where you're not picking out any star performances, in a way. That's the essence of some of those Chess songs. You can make counter-arguments — that Hubert Sumlin jumps out of some of those Howlin' Wolf records. But on a lot of them you can't discern who's playing what or what kind of instrument it is until you really listen. My thinking on the mixing of it was to re-create some of those things. You're hearing the sound of a band; sometimes you can't figure out if it's Keith or Ron who's playing the solo, or who's playing the rhythm part. It's not a wide stereo — it's a very narrow stereo, and with the amount of distortion it sounds like this one ball of fire.
- Mick Jagger, November 2016
Ronnie and Keith interlock so well that when it was mixed we did not separate them too much. It's almost like they are mono, with the guitars close to the centre of the stereo mix.
I said to the record company - which is, let's face it, they're not blues people, I mean they're very nice people and some I know very well - that: What we've made is a blues album but what do we do with it because we're in the middle of making a new album? Was it marketable as a separate album? Or would you like to wait till the new album is finished and put it out with it? So that you've got like 12 new things and you've got 12 blues things, which is kind of a nice package. I mean, you've got a lot of stuff suddenly. That would have been interesting. And I said, You think about that, you're the ones that are going to market it. Which way would you want to go? Cause I'm interested to see how you can (laughs) possibly market this blues album? Come on. Which traditionally is not going to interest any one - it's very niche. There's nothing wrong with it. But who's going to hear it? Is anyone going to go on Spotify and play this blues album? No one's going to listen to it. That to me is part of it, you know. You want to make a record but you want people to hear it, don't you? It's not supposed to just be for your family! That's nice, Dad... Probably the record company said, Well, the other (album)'s never gonna come - we might as well put this one out. I don't blame 'em. I probably would have done the same thing. 'Cause: Now I got something, might as well put it out.
- Mick Jagger, October 2016, on deciding to release the album
What we're playing on this album is actually the same time as we were making our first album. So they're very connected. At least to me and I think to the band. They take us back to our earlierst recordings and even pre-recording actually. So in a way a full circle, I guess, is the way the band feels about it.
I like all of them.
- Charlie Watts, October 2016, asked what his favorite song on the album is
Sounds have changed. What makes you excited now is not the same. In music, everything's different. But the blues still have something about them that's really good. I love all kinds of music, and I still listen to the blues.
We've known these songs for 50 years. It is a learned idiom. It's like me singing in Italian. If I'd been doing that for 50 years, you wouldn't ask me, How do you feel about singing in Italian? I don't feel anything about singing in Italian, I always sang in Italian. It works most of the time. It's like, you just have to go with it and suspend disbelief. To me it's a homage to all those people that we've always loved since we were kids. I can see why people might find it vaguely not correct, but we've always done it. And the artists themselves, they never objected.
It encapsulates everything we set out to do as a band. So, after 50-odd years, we've finally made an album that's 100 per cent blues... All I've ever wanted to be able to say is I passed it on. With this album my wish has come true.
This album is a homage to our favourite musicians, people who kicked us off in playing music. That was the reason we started a band. For my generation it's the equivalent of suburban white kids doing rap. It's so culturally far away from your own experience. We were proselytisers of blues music. In the end that's what we're still doing.
This album is the basis of what you came from. Can you still hack it in this direction? I play blues music at home, but we don't play as a band that much. The odd one in rehearsal. Onstage, we don't play a lot of blues, if at all. Midnight Rambler. Obviously, there are lots of bluesy things, but blues per se - as on this album - we don't do. So this is an extended, Are you able to do this stuff? I'm pleased that it sounds like we can.
On this album, you can hear how much (Mick is) a part of the band and what a musician he is. Because he's such a showman, a lot of his actual talent gets hidden. But on this record, he can feel very proud of himself. I've always loved the man. It's just that I have to kick his ass now and again!... This is the best record Mick Jagger has ever made. It was just watching the guy enjoying doing what he really can do better than anybody else. And also, the band ain't too shabby... He's an incredible harp player. And he also does that thing, when singing, knowing when to put the harp in and when to pull back... To me this record is a beautiful showcase of Mick's expertise. And also to capture him in full flow, enjoying himself.
(Mick) plays Little Walter stuff with incredible insight. Almost like Louis Armstrong in a way.
There ain't a guy around left that can play like that.
- Keith Richards, September 2016
I mean Little Walter's like the Charlie Parker of the harmonica. So you're really putting yourself on the line if you're doing one of his tunes.
They seem to come off, the Little Walter tracks. They're certainly not the most obvious songs to do.
And while we're talking about Mick, his singing on this is staggering. He sounds like he's 22. He sounds the same as he did. He can hit all the notes. I think he's got more chops than he had when he was younger.
I'm particularly knocked out by Keith's playing throughout the album; for me he is the leading purveyor of playing neither lead nor rhythm guitar. There's no differentiation. He's supportive and yet the musicality of his licks are lead guitar. It's done in a humble and generous fashion, and you can't do this if you are not a wonderful, humble and generous cat.
There's a lot of roll on this — thanks to Charlie Watts and Darryl Jones, who played lovely bass on this. I love my rhythm section.
Charlie is at the core of every musical conversation, his cymbal work is provocative. If you listen to his cymbal work, as a musician you know what to play. His power is amazing, but his playing is mystical. Listening to Charlie play you think he must be this huge guy wearing a tank top really hitting the drums hard.
The thing about the blues is it changes in very small increments. People reinterpret what they know - Elmore James reinterpreted Robert Johnson licks, as did Muddy Waters. So I'm not saying we're making the jumps that they made, but we can't help but reinterpret these songs.
There are things I can attempt now that I wouldn't have attempted before. It's all the blues, but there are a lot of different styles. Compare Hoo Doo Man Blues to I Can't Quit You Baby, they are totally different vocal stylings.
I'm pleased with it because it sounds so good.
The hopeful thing, the surprising thing is that it still retains that enthusiasm — that's the thing that's the same, the enthusiasm you've got for the music.
Brian would have loved the blues album. Stu, too.
This record is basically the Rolling Stones of about 19, 20 years old. Except we can do it better now (laughs). And it can be recorded better.
Some of them do sound like they could have been recorded in the '60s. There is a kind of youthful enthusiasm about them all. The atmosphere of the tracks and the way they are performed. Even my voice on them sounds quite young. We could have done this album in 1963 or '64, but, of course, it would not have sounded like this; we had not lived enough to make this record. Equally if we had made this a week later than we did, it would have been different again. It's the interesting thing about a record that is made really quickly: it reflects a moment in time - a time and a place.
I guess right now this blues record has thrown the Stones into a bit of a spin. It was not intended, it was not expected, but at the same time it is much loved in the band. Thee's a feeling like there's a new beginning, that we could clean the slate somewhere.
Well, for spontaneity, I do love Blue & Lonesome.
- Ron Wood, November 2018, asked what his favourite Stones album is
REVIEW EXCERPTS
As Keith Richards tells it, the Rolling Stones' first-ever all-blues album is the result of the band learning how to play in the unfamiliar surroundings of Mark Knopfler's British Grove Studios... The Stones haven't worked at such swift speed in decades -- not since the early '60s, when they were churning out two albums a year -- and much of the appeal of Blue & Lonesome lies in its casualness: by being tossed off, the album highlights how the Stones play together as a band, blending instinct and skill. Blue & Lonesome isn't a showcase for virtuoso playing -- even Eric Clapton's two smoldering solos are part of the tapestry -- but rather a groove record, emphasizing feel and interplay while never losing sight of the song. Such commitment to song is one of the reasons Blue & Lonesome winds up as an unexpected triumph from Mick Jagger. A blues album from the Stones always seemed like a dream project for Keith Richards, who always championed the band's blues roots, but it's Jagger who dominates the album, playing searing harp and singing with nuance and power. Always a guarded performer -- back in 1974, he scoffed at the notion of letting his feelings flood on the page -- Jagger seems freed, pouring heart into the slow burners and uptempo shuffles alike. The rest of the Stones match his commitment and that's what makes Blue & Lonesome something remarkable. Conceptually, it's clever -- if this winds up being the last Rolling Stones album, it provides a nice bookend to their 1964 debut -- but it's artistically satisfying because it's the Rolling Stones allowing themselves to simply lay back and play for sheer enjoyment. It's a rare thing that will likely seem all the more valuable over the years. 5/5
- Stephen Thomas Erlewine, All Music Guide, December 2016
In Just Your Fool, a Checker Records 45 for Little Walter in 1962, Watts presses the beat like a forced, precision march under the chug and spike of Richards and Wood's guitars. Blue and Lonesome, from a 1965 Little Walter single and caught here in a single take, opens with a rush of power-chord sustain, then drops into tense strut marked with jittery bursts of slalom guitar, Jagger cutting in with seething confrontation, especially on harp. Jones originally played that instrument in the Stones, but Jagger grew into their secret weapon. His hearty, supple attack and exclamatory accents are as exciting and decisive as Richards' bedrock ways on guitar. Made on impulse, as a much-needed break during other studio work, Blue and Lonesome is a monument to muscle memory. Solos are brief and tight, evoking the honed-punch effect of the original recordings. The running highlight throughout the album is the churning ensemble bond: the hot-plate jump of the guitars over the chasing rhythm in the Little Walter sprint I Gotta Go; the feral, stalking tension in Magic Sam's All of Your Love as Jagger tears at the title lyric like an upper-octave Howlin' Wolf.
Blue and Lonesome is not a record of mere returning, a look back at how it all started. The Stones were already big time when some of these songs were released by the originators including Howlin' Wolf's 1966 threat Commit a Crime and Magic Sam's defining version of All of Your Love on his 1967 landmark, West Side Soul. In fact, the younger Stones couldn't have tackled Jimmy Reed's 1957 lament Little Rain like the slow, advancing storm here. Watts comes in like stoic resignation, on brushed snare, under rolling clouds of guitar; Jagger fires lightning streaks of harp. It's barely a song – six lines of determined yearning and time running out. But it is dense with lessons, a reflection of the grip and wisdom that, for every bluesman, only comes with miles and age. 4.5/5
- David Fricke, Rolling Stone, December 2016
(W)hile there are fantastic contributions from Richards and Ronnie Wood – the grumbling twin guitars of Little Rain; the taut interplay that powers Hate to See You Go; and, especially, the woozy, chaotic backdrop they conjure on a version of Lightning Slim's Hoo Doo Blues – it's Jagger's voice and harmonica that really drive Blue & Lonesome. At his least inspired, Jagger can sound like a man who isn't singing so much as rearranging a well-worn series of mannerisms and tics, but here his vocals are extremely powerful and genuinely affecting, as if he's digging deep within himself to find the emotions to fit the material. You expect him to be able to summon up the kind of swaggering lubriciousness requisite for Everybody Knows About My Good Thing, originally recorded by Little Johnny Taylor, which he does; more surprising is how authentically wracked he sounds on All Your Love, Hate to See You Go and the Memphis Slim-penned title track. There's a really striking moment on the last one where he sings the line Baby please come on home to me, drawing out the word "please" into a chilling, agonised, vulnerable howl. Moreover, you wonder if Jagger's fashion-conscious dilettantism might account for the album's sound: Blue & Lonesome feels very much a record piloted by someone who's heard the White Stripes or the Black Keys, or the raw blues releases on which Mississippi label Fat Possum's reputation was founded. The sound is appealingly visceral and live: the guitars are spiky and slashing, the drums punch hard, everything – including Jagger's voice – is coated with a thin, crisp layer of distortion, as if the band are playing at such volume and with such force that the microphones can't quite take it... The last thing you hear on the album, after a version of Willie Dixon's I Can't Quit You Baby crashes to a halt, is Mick Jagger asking uncertainly was that OK? He sounds like a man who's still slightly awed by this music in its original form; who knows he's still paying homage to artists he can never entirely grasp, whatever Keith Richards thinks. But the answer to his question is an unqualified yes: it's more than OK, which is not something you can say about many Stones albums over the last 30 years. 4/5
- Alex Petridis, The Guardian, November 2016
There is no attempt to slavishly recreate original arrangements, the modus operandi seems to be to get the chord changes down and then play the damn thing for the sheer thrill of it. And it is a thrill because there are not many bands left who could actually do what they do in a modern studio: just set up, face each other and play with such connection and commitment that the record is essentially a performance so alive to the music it needs no adornment or improvement. It would be wrong to say that Jagger is a revelation, because we all know what he can do, but it is a pleasure to hear him do it so well. Richards has always loved Jagger's harmonica playing and here it is almost the featured item, with the singer taking everything he has learned from Little Walter, Howlin' Wolf and Jimmy Reed and applying it with instinct and emotion. It is as if, unburdened by the self-consciousness that can inhabit his attempts to keep up with the kids, the frontman is free to just enjoy himself... If you have seen the Stones on recent tours, you will know they are playing better than at any time since their Seventies glory. The truth is they have never really been outstanding virtuosos but they have the secret to locking tight as a unit and keeping things shifting... Hopefully this will serve as a palette cleanser for the album of originals the Stones are still threatening to eventually deliver. But that would have to go some way to beat Blue And Lonesome for sheer pleasure. It may not be the kind of definitive album statement that will rock the music world to its foundations but it more than demonstrate that the world's greatest and longest serving rock band have still got what it takes. 5/5
- Neil McCormick, The Telegraph, November 2016
For decades now, blues covers have been a staple of dully competent, forgettable bar bands, and this album has its share: for instance the unspectular opener, Just Your Fool - your archetypal fast-paced 12-bar, with almost every element, the turnaround, walking bass, uptempo shuffle, that you've heard a million times before. It doesn't have the grace to be awful, just predictable... (T)he edge, the unpredictability, emanates from that unexpected source: everybody's favourite hobo, Sir Michael Jagger, who steps to the fire three songs in, and dominates thereafter... (T)hree songs, Blue and Lonesome, Hoo Doo Blues and Little Rain (...) evoke the transformational quality of the Stones' original breakthrough... Three, of course, is a magic number, but not a large one. It's disappointing that there aren't one or two more inspiring moments, especially when there's a roughly equivalent number of duds. 3/5
- Paul Trynka, Mojo, January 2017
At its best, Blue & Lonesome finds the Stones fired up... Mick Jagger's harp playing is one of the album's defining features: driving and swooping through Keith and Ron's guitar lines, alternating between the raucous (Just Like I Treat You) and more sultry, soulful tunes (Blue and Lonesome). Jagger's vocal delivery, too, is forceful and direct, a reminder of how astute an interpreter of blues songs he can be... The work done by the two guitarists on Blue & Lonesome is essentially to bring swing and colour to the songs. Aside from Clapton's contributions, there are very few guitar solos on the album - the heavy lifting, so to speak, is done in the sympathetic interweaving bewteen Richards and Wood's playing... Throughout, Charlie Watts provides - as ever - unshowy yet powerful backing. His nimble percussion on All of Your Love or the cymbal crash that animates the second hall of Commit a Crime are every bit as characterful as the work done upfont by the guitars... For some bands, the idea of making an album of formative influences might be considered a mere stop-gap - a minor addition to the canon to keep the wolf from the door. Intriguingly, Blue & Lonesome feels like a mjor reassessment from a band, returning to the source and in doing so reminding us why they mattered in the first place. Where do the Stones go from here? 8/10
- Michael Bonner, Uncut, January 2017


The ultimate takeover is going to happen, Rick and Mortystyle. If you are a Supreme style Rick and Morty shirt or whatever, join us for a night of debauchery as we make the party room rounds as one unstoppable force!! Meet somewhere in the Garden Court. Look for the blue hair. Supreme " Rick & Morty " Art Print 8" x 10" with frame Express your love of style beyond your wardrobe , Designer wall art to make your living/Working area as stylish as you.
Normal glove or Supreme style Rick and Morty shirt? Both are "Ultimate wind block" Which is best for cycling? The ultimate power lunch, NFL style: Roger Goodell, De Smith and the Mediator are having lunch together in Minneapolis today. Adam Schefter reports. And that's where it is today. It's a reminder that I had the supreme honor of giving someone something that mattered, really, really mattered. Rick didn't die alone. The week leading up to his death was graced with extra gifts: the snow/ice day on January 6, low numbers at the center the following day, so I was free to leave work, me going with an intuitive feeling that I should give my theater ticket to a friend, compassionate bosses and co-workers who "made it work" when I called from home at lunch on Friday and said I wouldn't return that afternoon.


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redpajama_set_name: RedPajamaWikipedia


There's still time for some nasty weather, but the relatively mild winter so far has translated into savings for many area highway departments.
In general, road crews have made fewer trips and dumped less salt than most winters.
That's meant a savings of about $200,000, mostly in salt costs, for Erie County, according to Deputy Highways Commissioner Gerard J. Sentz.
In Buffalo, Streets Commissioner Joseph Giambra put the savings at about $160,000 for salt and another $60,000 for overtime.
"It's pretty unusual to be this much under budget," Giambra said. "It's the biggest surplus at this point in the year in my 12 years as commissioner."
Amherst's savings were also noteworthy, according to Highway Superintendent Robert Anderson; about $75,000 in salt and $123,000 in overtime.
Cheektowaga Supervisor Dennis H. Gabryszak estimated the town has saved about $90,000 in salt and plowing costs out of a $15 million budget.
Provided there are no future storms that place high demands on the department's resources, Gabryszak said he is hopeful that whatever savings are realized as a result of this year's milder than usual winter can be used to lower taxes.
"My first preference would be to put [the savings] back into the fund balance," said Gabryszak.
The good news for municipal budgets can be traced to three months of relative warmth and little snow.
December, January and February, sometimes referred to as meteorological winter, averaged 29.9 degrees, which is 4.4 de grees above normal. It was, in fact, the 10th warmest such period since record-keeping began at Buffalo Niagara International Airport in 1943.
Snowfall was 71.6 inches, about 9 inches below what we normally get for the period. Less snowfall also meant fewer days with snow on the ground, only 21 of the 66 days from Christmas through the end of February.
And there were very few big snowfalls -- at the airport, only one of 6 inches or better.
"There were no countywide big storms," Sentz said. "That's what would have hurt us."
Without those storms, Sentz said he was able to move county road crews around from north to central to south as conditions warranted.
"It allowed me to be flexible and put the trucks where we needed them," Sentz said.
January was incredibly mild, 10 degrees above average, and that's when most of the savings occurred.
"In January, we salted and plowed less during that month than we had to a year before," Amherst's Anderson said.
Anderson said the mild winter has allowed the department to start planning, and in some cases doing, road work that usually waits until spring or summer.
"Probably the biggest result is we're getting a head start on some drainage problems and a road project," Anderson said, mentioning a road project on Audubon Drive and a major drainage project on Schimwood Court and Montbleu Drive.
Although the Southtowns got more snow than most of the area, several municipalities said they still managed to save money on snow removal.
"It has been excellent for our budget, relative to our normal winters," said Hamburg Highway Superintendent James Connolly.
He estimated that his department has spent about a quarter to a third less on overtime than during the same period in previous years. But he does not anticipate any noticeable savings in the cost for road salt from November to early March.
"We've had consistent snow coming and going," Connolly said. "While it wasn't storms, a lot of the events we had were requiring a little scraping and salting, more than the standard snowstorms."
Includes reporting by News Staff Reporter Thomas J. Dolan.


text:
FzMovies - Searching for releases in 1997
Movies By Year: 2019 - 2018 - 2017 - 2016 - 2015 - 2014 - 2013 - 2012 - 2011 - 2010 - 2009 - 2008 - 2007 - 2006 - 2005 - 2004 - 2003 - 2002 - 2001 - 2000
Searching for Releases in 1997 in Hollywood Movies
Titanic (1997) (BluRay)
84 years later, a 101-year-old woman named Rose DeWitt Bukater tells the story to her granddaughter Lizzy Calvert, Brock Lovett, Lewis Bodine, Bobby
Buell and Anatoly Mikailavich on the Keldysh about her life set in April 10th 1912, on a ship called Titanic when young Rose boards the departing ship with the upper-class passengers and her mother, Ruth DeWitt Bukater, and her fianc�, Caledon Hockley. Meanwhile, a drifter and artist named Jack Dawson and his best friend Fabrizio De Rossi win third-class tickets to the ship in a game. And she explains the whole story from departure until the death of Titanic on its first and last voyage April 15th, 1912 at 2:20 in the morning.
Liar Liar 1997 (1997) (BluRay)
A fast-track lawyer can't lie for 24 hours due to his son's birthday wish after he turns his son down for the last time.
Mortal Kombat: Annihilation (1997) (BluRay)
Mortal Kombat is an ancient tournament where the Earth Realm warriors battle against the forces of Outworld. Liu Kang and a few chosen fighters fough
t and defeated the powerful sorcerer Shang Tsung, their victory would preserve the peace on Earth for one more generation. Taking place now where the first movie left off, the Earth realm warriors live a short period of peace when evil forces from another dimension come to invade and wreak havoc on Earth. They are guided by the forces of Outworld leader, Shao Kahn and his generals such as: Motaro, Rain, Ermac, Sheeva and Sindel. Now Liu Kang, Raiden, Jax, Sonya and Kitana must defeat Shao Kahn in six days before the Earth realm merges with the Outworld.
Men in Black (1997) (BluRay)
Men in Black follows the exploits of agents Kay and Jay, members of a top-secret organization established to monitor and police alien activity on Ear
th. The two Men in Black find themselves in the middle of the deadly plot by an intergalactic terrorist who has arrived on Earth to assassinate two ambassadors from opposing galaxies. In order to prevent worlds from colliding, the MiB must track down the terrorist and prevent the destruction of Earth. It's just another typical day for the Men in Black.
Good Will Hunting (1997) (BluRay)
A touching tale of a wayward young man who struggles to find his identity, living in a world where he can solve any problem, except the one brewing d
eep within himself, until one day he meets his soul mate who opens his mind and his heart.
Anaconda (1997) (BluRay)
A "National Geographic" film crew is taken hostage by an insane hunter, who takes them along on his quest to capture the world's largest - a
nd deadliest - snake.
Con Air (1997) (BluRay)
A newly released ex-con and former US Ranger finds himself trapped in a prisoner transport plane when the passengers seize control.
Home Alone 3 (1997) (WEB-DL)
Four high-tech industrial spies, Beaupre, Alice, Jernigan and Unger, steal a top-secret microchip, and, to fool customs, hide it in a remote-control t
oy car. Through a baggage mix-up at the airport, grumpy old Mrs.Hess gets the toy and gives it to her neighbor, 8-year-old Alex. Spies want to get…
Tags : police | airport | trap
The Fifth Element (1997) (BluRay)
In the twenty-third century, the universe is threatened by evil. The only hope for mankind is the Fifth Element, who comes to Earth every five thousa
nd years to protect the humans with four stones of the four elements: fire, water, Earth and air. A Mondoshawan spacecraft is bringing The Fifth Element back to Earth but it is destroyed by the evil Mangalores. However, a team of scientists use the DNA of the remains of the Fifth Element to rebuild the perfect being called Leeloo. She escapes from the laboratory and stumbles upon the taxi driver and former elite commando major Korben Dallas that helps her to escape from the police. Leeloo tells him that she must meet Father Vito Cornelius to accomplish her mission. Meanwhile, the Evil uses the greedy and cruel Jean-Baptiste Emanuel Zorg and a team of mercenary Mangalores to retrieve the stones and avoid the protection of Leeloo. But the skilled Korben Dallas has fallen in love with Leeloo and decides to help her to retrieve the stones.
Tomorrow Never Dies (1997) (BluRay)
Agent James Bond 007 is on a mission which includes a media tycoon, his former lover and a Chinese agent. Elliot Carver wants to complete his global
media empire, but in order for this to work., he must achieve broadcasting rights in China. Carver wants to to start up World War III by starting a confrontation over British and Chinese waters. Bond gains the helping of Wai Lin on his quest to stop him, but how will Bond feel when he meets up with his former lover, who is know Carver's wife.
Anastasia (1997) (BluRay)
Air Force One (1997) (BluRay)
The President of the USA goes to Moscow and gives a stirring speech outlining the USA's new "Zero-tolerance" policy with respect to terrori
sm. On the flight home, terrorists take over Air Force One (the President's official plane) and take the passengers (including his wife and daughter) hostage. The terrorists plan to execute one hostage every half-hour unless/until their demands are met. However, the President is a former Medal of Honor winner, so the terrorists may be in for a surprise...
Money Talks 1997 (1997) (WEB-DL)
Sought by police and criminals, a small-time huckster makes a deal with a TV newsman for protection.
Face Off 1997 (1997) (BluRay)
In order to foil an extortion plot, an FBI agent undergoes a face-transplant surgery and assumes the identity and physical appearance of a ruthless te
rrorist, but the plan turns from bad to worse when the same criminal impersonates the cop.
Hercules 1997 (1997) (BluRay)
The son of the Greek Gods Zeus and Hera is stripped of his immortality as an infant and must become a true hero in order to reclaim it.
The Odyssey 1997 (1997) (DVDRip)
This lavish small-screen adaptation of Homer's ancient epic--replete with Maltese and Turkish locations, state-of-the-art special effects, and many br
onzed muscles gleaming with sweat--...
Princess Mononoke (1997) (BRRip)
While protecting his village from rampaging boar-god/demon, a confident young warrior, Ashitaka, is stricken by a deadly curse. To save his life, he
must journey to the forests of the west. Once there, he's embroiled in a fierce campaign that humans were waging on the forest. The ambitious Lady Eboshi and her loyal clan use their guns against the gods of the forest and a brave young woman, Princess Mononoke, who was raised by a wolf-god. Ashitaka sees the good in both sides and tries to stem the flood of blood. This is met be animosity by both sides as they each see him as supporting the enemy.
George of the Jungle 1997 (1997) (BluRay)
A man raised in the jungle by apes falls in love with a wealthy American heiress.
Spawn 1997 (1997) (BluRay)
An elite mercenary is killed, but comes back from Hell as a reluctant soldier of the Devil.
Life Is Beautiful (1997) (BRRip)
In 1930s Italy, a carefree Jewish book keeper named Guido starts a fairy tale life by courting and marrying a lovely woman from a nearby city. Guido
and his wife have a son and live happily together until the occupation of Italy by German forces. In an attempt to hold his family together and help his son survive the horrors of a Jewish Concentration Camp, Guido imagines that the Holocaust is a game and that the grand prize for winning is a tank.

redpajama_set_name: RedPajamaCommonCrawl


text:
Благоя или Благой Стефановски (, Благој Стефановски) е актьор и политик от Северна Македония.

Биография
Роден е на 7 март 1963 година в град Битоля. Завършва през 1975 година Факултета за драматични изкуства. В периода 1975-1980 година е директор на Битолския народен театър. Известен период от време е председател на Международния филмов фестивал "Братя Манаки", председател на съвета на фестивала "Охридско лято" и председател на Македонския театрален фестивал "Войдан Чернодрински". В периода 1994 - 1998 година е депутат. Между 2002 и 2006 година е министър на културата на Република Македония.

Бележки

Министри на културата на Северна Македония
Северномакедонски актьори и актриси
Възпитаници на Скопския университет
Родени в Битоля
Починали в Битоля


text:
Der Tiefdecker Werk Nr.1 wurde von der Flugtechnischen Arbeitsgemeinschaft Hamburg hergestellt. Er diente hauptsächlich Schul- und Übungsflügen. Eine Besonderheit des Flugzeuges waren die beiden nebeneinander liegenden Sitze.

Technische Daten

Weitere technische Details

Siehe auch: Liste von Flugzeugtypen

Fag Werk Nr.1
Einmotoriges Flugzeug mit Kolbenmotor


"Sport-Express" is one of the most popular and authoritative sports medias in Russia.
The resources of the Publishing House include the daily newspaper "Sport-Express", thematic special editions, the internet portal , Internet TV and mobile applications. The daily newspaper "Sport-Express" was founded in 1991. In 1999, the Internet edition of the newspaper was born.
Since 2001, "Sport-Express" is the only sports publication in Russia who is a member of the European Sports Magazines Association. Under the brand "Sport-Express" a number of sport programs for Internet TV and mobile applications have been created.
Since 1999, the publishing house "Sport-Express" organises one of the largest football tournament among amateur "courtyard" teams (TDK) , as a part of the corporate social responsibility project. Since March 2016, "Sport Express" is a member of the "National Media Group" holding.
Since March 2018 Sport Express acts as information partner of the "Fedor Druzhinin-Mini Transat 2019". News, articles and all interesting information of our project are published both in the "Sport Express" itself and also in its social networks and groups, making information about our project accessible to a wide range of domestic sports fans.
Follow our news on Sport-Express website in "Sailing" and "Extreme Sports" sections.


Sparkling grooved antique silver or frosty pearl white glass T-Light holder votive for tea light candles.
Sit in groups to illuminate windows, dinner tables to create mood lighting.
Classic and timeless, you will use these time and time again.
Size: 6.5 cm diameter at top, 4 cm high.
Please note - main image shows the pearl white t-light. The colour is called pearl white though when unlit can appear more pearl grey. It sits equally beautiful with both white,silver and grey items.


The NLG-NYC is collecting signatures of lawyers, legal organizations, and supportive organizations for this statement. Click here to sign on, or email info@al-awdany.org!
After almost one week of peaceful mass protests by the people of Egypt, the Mubarak regime continues to refuse the wishes of the people and has, instead, launched a brutal assault against the Egyptian people, leaving ten dead and thousands more wounded.
On February 3, 2011 at approximately 3:30 p.m., Mubarak's intelligence agents raided the Hisham Mubarak Legal Aid Center. The legal workers and human rights advocates were severely beaten and taken into state custody to an unknown location, for an unknown duration and without probable cause. In this atmosphere of chaos and impunity, the National Lawyers Guild – NYC Chapter (NLG-NYC) issues its strongest condemnation and appeals to all human rights organizations and legal unions to stand in defense of the workers of the Hisham Mubarak Legal Aid Center and all human rights workers who have come under increasing attack under the Mubarak regime.
The NLG-NYC calls on U.S. government officials to exert pressure on the Mubarak regime to ensure the safe and immediate release of the workers of the Hisham Mubarak Legal Aid Center and all victims of wrongful imprisonment, and calls on all human rights advocates to join the campaign for the release of the legal aid workers and to monitor the conditions of the legal workers until they are released.
Human rights advocates have historically played a pivotal role in defense of people seeking the restoration of their basic rights to life and liberty. In times of uprising, the role of the legal aid workers becomes more critical as they are tasked with defending the people against false charges and bear the great burden of documenting the abuses the people suffer. It is imperative that all legal aid and human rights workers be free to conduct their duty of serving the people.
We also call for the immediate end of all Egyptian government orchestrated attacks against the pro-democracy movement in Egypt and call on the government of the United States to end its support for the Mubarak regime by terminating all military aid to Egypt until democratic elections are held. The U.S. government should also refrain from backing newly-appointed Vice President Omar Suleiman, who is notorious for his participation in human rights abuses and is viewed by the pro-democracy movement as part of Mubarak's regime.
We further call on the international community to launch an investigation in preparation for prosecution of the crimes against humanity and other gross violations of human rights law as committed by the Mubarak regime against the people of Egypt.
The National Lawyers Guild, founded in 1937, is the oldest and largest public interest/human rights bar organization in the United States. Its headquarters are in New York and it has chapters in every state.
We are asking lawyers, legal workers, and legal and activist organizations to sign on to this statement. It will be widely distributed and sent to the White House, the State Department and the Justice Department.


Check out Part 1 of my adventures in California.
Apart from a simpler trip from San Francisco to Berkeley, day 2 of BADCamp started out much the same as day 1. The Mobile Summit was held in the same room as the UI/UX Summit. The morning's sessions were presented by John Albin Wilkins (of Zen fame) and Sam Richard, a front-end developer who currently works for NBC Universal. John's presentation was an update on the status of Drupal 8's Mobile Initiative and an overall perspective on the importance of developing for mobile. Sam's presentation (which he called a "Fireside Chat" to make it seem a bit more intimate in such a large space) was focused on SASS and the power that it wields. We had just started to use SASS for theme development here at OpenConcept (including for the latest theme on OpenConcept.ca), so I found this session particularly interesting.
Following Lewis' presentation on the uses of touch in mobile development, Kevin O'Leary of Acquia presented New Interaction Patterns in Mobile for Drupal. Kevin had spoken at the UI/UX Summit on the previous day and I was quite impressed with his presentation style. For his contribution to the mobile discussion, he focused on a better admin interface for anyone who works with a Drupal site.
To close out the Mobile Summit, there was a presentation on using Drupal to develop iOS Native Apps for iPhones and iPads. While this presentation dealt with content that none of the others really approached, it didn't really interest me personally, as app development is not something I've had any experience with.
Come back soon for Part 3 of my California adventure!


with the right guidance and strong faith.
Thank you for reaching out to us. We would be very happy to walk with you on a journey towards your ultimate health and fitness. No matter how hard the challenges and goals might seem, and as long as you keep putting one step in front of the other without giving up, you will get there.
The challenges you face, while they seem big, are not uncommon. They can be overcome!
We look forward to sitting down with you for a better understanding of your lifestyle, commitments, and habits so we can start putting together a roadmap and achievable goals.
DO IT NOW! WITH THE RIGHT GUIDANCE AND STRONG FAITH.
First of all I have to say it , I LOVE MY DIETICIAN LANA!!!!, I was able to loose around 24 kgs with her support. I learned form her how to eat in a wise and different way without starvation and smoothly. The most important thing is that she gives you time to discuss your needs and your priortities according to your lifestyle. It si never too late to love your body. I DO RECOMMEND GOUT DE VIE TO ALL.
I tried loosing weight with 7 dieticians before Lana. With all of them I was able to loose the first 10kgs and I would gain them back before reaching maintenance. With Lana I lost 30kgs and I'm still maintaining. I sometimes gain 2kgs but I loose then directly because there is constant follow up. And the best part is that even if you take back some few kilos Lana wont make you feel guilty, she is able to adapt you diet plan to your life style and what you are going through. I know 8 persons going to her and each one of us has a different plan, you cant even tell we are going to the same dietician, this is how personalized her plan is.
In my first visit to Gout de Vie in 2012, I challenged Dr. Lana if she is able to get me to lose weight and maintain it .I was a bit skeptical honneslty due to my previous bad experiences with dietitians but we did it!!!
here I'm now having lost 10kg , the best part is that the diet program was customized to my lifestyle and was really easy to stick.


To accept your offer in MyCentre, visit http://mycentre.cqu.edu.au.
Once you have signed in to MyCentre, click 'My Applications' from the home page. A pending offer will be available for you to respond to. Select the blue 'Respond' button next to your offer and 'Accept' from the top left of the screen.
To defer your studies, you will need to follow the prompts to submit a deferral request through the handbook e-form Defer Your Course – New Students. To reject your offer, at the last stage, rather than selecting 'Accept', select the 'More' drop-down menu. From here, you will have the option to 'Reject' the offer.
Refer to the Responding to an offer instruction sheet for more details.


text:
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Home Tag Archives: Akira
Tag Archives: Akira
1st day box office collection of Sonakshi Sinha's Akira to get affected due to Bharat Bandh?
By FabNewz 2016
in : Bollywood News
The viewers have been waiting to witness Sonakshi Sinha in an unconventional character in her upcoming movie Akira which is all set to hit the theatres tomorrow. However, a nationwide strike has been summoned by the trade unions tomorrow, and the filmmakers are extremely panic-stricken right now, as to how the film will do at the box office on thefirst …
Akira Collection: 1st Day Total Box Office Collection of Akira
in : Box Office Collection
Akira (2016) First Day Box Office: Akira is a 2016 Indian action drama film starring Sonakshi Sinha in the lead as Akira Sharma, Konkona Sen Sharma and Anurag Kashyap. The film is co-written, produced and directed by AR Murugadoss. It hit the theatres today. Unlike usual Bollywood action films, instead of a Khan or a Kumar beating the baddies to a …
Anurag Kashyap wishes to take his association with Sonakshi Sinha further
in : Entertainment
Sonakshi Sinha is all geared up for her upcoming movie Akira which will hit the silver screens tomorrow. Sonakshi will be witnessed as never before by being a badass female and giving the culprits the taste of their own medicine, rather than getting portrayed as the stereotypical heroine who is saved by her love interest at the end of the …
Akira (2016) : 4th Day Box Office Collection
An official remake of a Tamil film Mouna Guru, Akira starring Sonakshi Sinha in the main protagonist role hit theatres on Friday, September 2. Co-written, directed, and produced by AR Murugadoss of Ghajini fame, Akira portrays Sonakshi in her first woman-centric role which is a definite departure from the usual array of roles she has played in her earlier movies.Konkona …
Akira 5th Day/5 Days Total Worldwide Box Office Collection
Akira 5 days box office collection:The film is anIndian action drama film starring Sonakshi Sinha in the lead as Akira Sharma, Konkona Sen Sharma and Anurag Kashyap.It's a remake of the 2011 Tamil film Mouna Guru and its beenco-written, produced and directed by AR Murugadoss.The film is a commercial film with a different kind of story. Hereusual Bollywood action films …
Akira Trailer Released, Sonashi Sinha in a Never-seen Action Packed Avatar
in : Trailer
After prolonged wait, the much anticipated Akira Trailer has finally been released. The movie is directed by Ghajini- famed filmmaker AR Murugadoss and is a remake of the superhit Tamil film 'Mouna Guru'. The film has Sonakshi Sinha in the lead role and although the 'Daabang ' girl has mostly played a 'desi, demure ' girl role in her previous …
Sonakshi Sinha's 'Akira' Teaser Revealed, Some Serious Action Afoot
Actress Sonakshi Sinha's upcoming film 'Akira' has unveiled an all-new trailer and it looks pretty awesome. It's anA. R. Murugadoss film. The teaser open with a brief prelude of Ghajini and it cuts to the protagonist, Sonakshi who looks very upset. Watch the trailer here: In an earlier interview when the actresswas asked about being typecast as the love interest …
Sonakshi Sinha's 'Akira' will release on September 23
The 'Dabangg' girl of bollywood Sonakshi Sinha will come with her 'Akira' on 23rd September. She will be seen in Gajini famed A R Murugadoss in his next action flick. A R Murugadoss and Fox Star Studios will produce the film. It's been quite some time that we have sen her in any films after 'Tevar', and did a special …
How to get More Followers on Instagram
FabNewz Team
When you want to use Instagram effectively, you need to build a sturdy base …
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Our main goals in our office in Tucson are to listen and address our patients concerns, excel in the quality of treatment, and exceed our patient's expectations.
We provide the state-of-the-art facilities for the highest quality orthodontic care available. It is our top priority to provide optimum treatment and protect the well-being of our valued patients. For this reason, our office meets and surpasses all OSHA (Occupational Safety and Health Administration) and CDC (Center for Disease Control) standards. We are confident that you will feel right at home in our office as we welcome all patients from Tucson, Green Valley, Oro Valley, and Sahuarita like family.
As a courtesy to our patients, we are more than happy to submit all insurance claims for you and help you recover the most from your benefits. We have payment plan options and very low down-payments to make getting started with orthodontic treatment easy and affordable.
We do everything we can to help you afford the treatment you need and want. We accept checks, cash, or any major credit card. Creating beautiful smiles is our passion, and we want to make it as easy as possible for you to come in and speak with us about options.
Scheduling an appointment is now easier and faster than ever. Save time by scheduling it yourself. If you would like to speak with our office associates, please contact our office by phone (520) 745-5051 or email located on the Contact Us page. Our office facilitates communications and emergency calls, and appointments are available and welcome, especially for new patients seeking treatment.
If you are unable to keep an appointment, we ask that you kindly provide us with at least 24-hour notice. This advance notice allows us to offer this appointment to another patient. We will charge a $25 fee if a patient does not show up for an appointment without sufficient notice of cancellation.
We would like to take this opportunity to thank you for choosing our practice for your orthodontic care. Call (520) 745-5051 to learn more about our Tucson, AZ office or to schedule a free consultation!


text:
Jessica Alba to star in Spy Kids sequel
John August 24, 2010
She has just worked with Robert Rodriguez in his latest film called Machete. She has also signed on to play the mother of the new series. The main characters Alexa Vega and Daryl Sabara were the kids of super spy parents played by Carla Gugino and Antonio Banderas in the original. So there will be some changes to the story.
Vega and Sabara are no longer kids anymore. The new movie will center on Alba as a retired spy who has been reactivated. The actress will be playing the mother of a baby and two preteen stepchildren.
The kids' roles will be recast this time around. The other roles in the film include the husband, a slightly nerdy investigative reporter, and the villain will be called Time Keeper, whose goal is to stop time.
Rodriguez will be shooting the film in Austin and will begin shooting next month. The Spy Kids 4: Armageddon will be in 3D. Machete his new film is expected to hit theaters on September 3 rd.
Source: Hollywood Reporter
Antonio BanderasJessica AlbaRobert RodriguezSpy Kids
'The SpongeBob Movie' will make your whole family laugh
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John July 22, 2011
First Look: Gina Carano in Haywire
John July 1, 2011
New Clips from The Skin I Live In


text:
Q: Custom Emoji Keyboard in Android with Images I want to create my own emoji keyboard in android. User should be able to select this keyboard as an input method for his android phone.
I tried creating it and I am able to use it in my app but I have no idea how to make this as an input method so this keyboard will be available to all other apps in my phone.
I read somewhere that I have to create a service for that so that it bind with input service.Other than that I am not able to understand rest of the thing.
Here is what I did. Though it is different from what I want to do but is start and don't know how to proceed further.
public class MainActivity extends FragmentActivity implements EmoticonsGridAdapter.KeyClickListener {

private static final int NO_OF_EMOTICONS = 100;

private ListView chatList;
private View popUpView;
private ArrayList<Spanned> chats;
private ChatListAdapter mAdapter;

private LinearLayout emoticonsCover;
private PopupWindow popupWindow;

private int keyboardHeight;
private EditText content;

private LinearLayout parentLayout;

private boolean isKeyBoardVisible;

private Bitmap[] emoticons;

@Override
protected void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.activity_main);

    chatList = (ListView) findViewById(R.id.chat_list);

    parentLayout = (LinearLayout) findViewById(R.id.list_parent);

    emoticonsCover = (LinearLayout) findViewById(R.id.footer_for_emoticons);

    popUpView = getLayoutInflater().inflate(R.layout.emoticons_popup, null);

    // Setting adapter for chat list
    chats = new ArrayList<Spanned>();
    mAdapter = new ChatListAdapter(getApplicationContext(), chats);
    chatList.setAdapter(mAdapter);
    chatList.setOnTouchListener(new OnTouchListener() {

        @Override
        public boolean onTouch(View v, MotionEvent event) {
            if (popupWindow.isShowing())
                popupWindow.dismiss();
            return false;
        }
    });

    // Defining default height of keyboard which is equal to 230 dip
    final float popUpheight = getResources().getDimension(
            R.dimen.keyboard_height);
    changeKeyboardHeight((int) popUpheight);

    // Showing and Dismissing pop up on clicking emoticons button
    ImageView emoticonsButton = (ImageView) findViewById(R.id.emoticons_button);
    emoticonsButton.setOnClickListener(new OnClickListener() {

        @Override
        public void onClick(View v) {

            if (!popupWindow.isShowing()) {

                popupWindow.setHeight((int) (keyboardHeight));

                if (isKeyBoardVisible) {
                    emoticonsCover.setVisibility(LinearLayout.GONE);
                } else {
                    emoticonsCover.setVisibility(LinearLayout.VISIBLE);
                }
                popupWindow.showAtLocation(parentLayout, Gravity.BOTTOM, 0, 0);

            } else {
                popupWindow.dismiss();
            }

        }
    });

    readEmoticons();
    enablePopUpView();
    checkKeyboardHeight(parentLayout);
    enableFooterView();

}

/**
 * Reading all emoticons in local cache
 */
private void readEmoticons () {

    emoticons = new Bitmap[NO_OF_EMOTICONS];
    for (short i = 0; i < NO_OF_EMOTICONS; i++) {
        emoticons[i] = getImage((i+1) + ".png");
    }

}

/**
 * Enabling all content in footer i.e. post window
 */
private void enableFooterView() {

    content = (EditText) findViewById(R.id.chat_content);
    content.setOnClickListener(new OnClickListener() {

        @Override
        public void onClick(View v) {

            if (popupWindow.isShowing()) {

                popupWindow.dismiss();

            }

        }
    });
    final Button postButton = (Button) findViewById(R.id.post_button);

    postButton.setOnClickListener(new OnClickListener() {

        @Override
        public void onClick(View v) {

            if (content.getText().toString().length() > 0) {

                Spanned sp = content.getText();
                chats.add(sp);
                content.setText("");
                mAdapter.notifyDataSetChanged();

            }

        }
    });
}

/**
 * Overriding onKeyDown for dismissing keyboard on key down
 */
@Override
public boolean onKeyDown(int keyCode, KeyEvent event) {
    if (popupWindow.isShowing()) {
        popupWindow.dismiss();
        return false;
    } else {
        return super.onKeyDown(keyCode, event);
    }
}

/**
 * Checking keyboard height and keyboard visibility
 */
int previousHeightDiffrence = 0;
private void checkKeyboardHeight(final View parentLayout) {

    parentLayout.getViewTreeObserver().addOnGlobalLayoutListener(
            new ViewTreeObserver.OnGlobalLayoutListener() {

                @Override
                public void onGlobalLayout() {

                    Rect r = new Rect();
                    parentLayout.getWindowVisibleDisplayFrame(r);

                    int screenHeight = parentLayout.getRootView()
                            .getHeight();
                    int heightDifference = screenHeight - (r.bottom);

                    if (previousHeightDiffrence - heightDifference > 50) {
                        popupWindow.dismiss();
                    }

                    previousHeightDiffrence = heightDifference;
                    if (heightDifference > 100) {

                        isKeyBoardVisible = true;
                        changeKeyboardHeight(heightDifference);

                    } else {

                        isKeyBoardVisible = false;

                    }

                }
            });

}

/**
 * change height of emoticons keyboard according to height of actual
 * keyboard
 *
 * @param height
 *            minimum height by which we can make sure actual keyboard is
 *            open or not
 */
private void changeKeyboardHeight(int height) {

    if (height > 100) {
        keyboardHeight = height;
        LinearLayout.LayoutParams params = new LinearLayout.LayoutParams(
                LayoutParams.MATCH_PARENT, keyboardHeight);
        emoticonsCover.setLayoutParams(params);
    }

}

/**
 * Defining all components of emoticons keyboard
 */
private void enablePopUpView() {

    ViewPager pager = (ViewPager) popUpView.findViewById(R.id.emoticons_pager);
    pager.setOffscreenPageLimit(3);
    pager.setBackgroundColor(Color.WHITE);
    ArrayList<String> paths = new ArrayList<String>();

    for (short i = 1; i <= NO_OF_EMOTICONS; i++) {
        paths.add(i + ".png");
    }

    EmoticonsPagerAdapter adapter = new EmoticonsPagerAdapter(MainActivity.this, paths, this);
    pager.setAdapter(adapter);

    // Creating a pop window for emoticons keyboard
    popupWindow = new PopupWindow(popUpView, LayoutParams.MATCH_PARENT,
            (int) keyboardHeight, false);

    /*TextView backSpace = (TextView) popUpView.findViewById(R.id.back);
    backSpace.setOnClickListener(new OnClickListener() {

        @Override
        public void onClick(View v) {
            KeyEvent event = new KeyEvent(0, 0, 0, KeyEvent.KEYCODE_DEL, 0, 0, 0, 0, KeyEvent.KEYCODE_ENDCALL);
            content.dispatchKeyEvent(event);
        }
    });*/

    popupWindow.setOnDismissListener(new OnDismissListener() {

        @Override
        public void onDismiss() {
            emoticonsCover.setVisibility(LinearLayout.GONE);
        }
    });
}

/**
 * For loading smileys from assets
 */
private Bitmap getImage(String path) {
    AssetManager mngr = getAssets();
    InputStream in = null;
    try {
        in = mngr.open("emoticons/" + path);
    } catch (Exception e) {
        e.printStackTrace();
    }

    Bitmap temp = BitmapFactory.decodeStream(in, null, null);
    return temp;
}

@Override
public boolean onCreateOptionsMenu(Menu menu) {

    return true;
}

@Override
public void keyClickedIndex(final String index) {

    ImageGetter imageGetter = new ImageGetter() {
        public Drawable getDrawable(String source) {
            StringTokenizer st = new StringTokenizer(index, ".");
            Drawable d = new BitmapDrawable(getResources(),emoticons[Integer.parseInt(st.nextToken()) - 1]);
            d.setBounds(0, 0, d.getIntrinsicWidth(), d.getIntrinsicHeight());
            return d;
        }
    };

    Spanned cs = Html.fromHtml("<img src ='"+ index +"'/>", imageGetter, null);

    int cursorPosition = content.getSelectionStart();
    content.getText().insert(cursorPosition, cs);

}

}
EDIT:
This is the code for custom keyboard that I have implemented but I am unable to find how to add emoji to that keyboard.
  public class SimpleIME extends InputMethodService
        implements KeyboardView.OnKeyboardActionListener {

    private KeyboardView kv;
    private Keyboard keyboard;
    private View popUpView;
    private boolean caps = false;
    @Override
    public View onCreateInputView() {
        kv = (KeyboardView)getLayoutInflater().inflate(R.layout.keyboard, null);
        keyboard = new Keyboard(this, R.xml.qwerty);
        kv.setKeyboard(keyboard);
        kv.setOnKeyboardActionListener(this);
        kv.invalidateAllKeys();
        popUpView = getLayoutInflater().inflate(R.layout.emoticons_popup, null);
        return kv;
    }

    @Override
    public void onKey(int primaryCode, int[] keyCodes) {
        InputConnection ic = getCurrentInputConnection();
        playClick(primaryCode);
        switch(primaryCode){
            case Keyboard.KEYCODE_DELETE :
                ic.deleteSurroundingText(1, 0);
                break;
            case Keyboard.KEYCODE_SHIFT:
                caps = !caps;
                keyboard.setShifted(caps);
                kv.invalidateAllKeys();
                break;
            case Keyboard.KEYCODE_DONE:
                ic.sendKeyEvent(new KeyEvent(KeyEvent.ACTION_DOWN, KeyEvent.KEYCODE_ENTER));
                break;
            case -80 :
                Log.d("smiley", "smiley pressed");

                break;
            default:
                char code = (char)primaryCode;
                if(Character.isLetter(code) && caps){
                    code = Character.toUpperCase(code);
                }
                ic.commitText(String.valueOf(code),1);
        }
    }

    private void playClick(int keyCode){
        AudioManager am = (AudioManager)getSystemService(AUDIO_SERVICE);
        switch(keyCode){
            case 32:
                am.playSoundEffect(AudioManager.FX_KEYPRESS_SPACEBAR);
                break;
            case Keyboard.KEYCODE_DONE:
            case 10:
                am.playSoundEffect(AudioManager.FX_KEYPRESS_RETURN);
                break;
            case Keyboard.KEYCODE_DELETE:
                am.playSoundEffect(AudioManager.FX_KEYPRESS_DELETE);
                break;
            default: am.playSoundEffect(AudioManager.FX_KEYPRESS_STANDARD);
        }
    }

    @Override
    public void onPress(int primaryCode) {
    }

    @Override
    public void onRelease(int primaryCode) {
    }

    @Override
    public void onText(CharSequence text) {
    }

    @Override
    public void swipeDown() {
    }

    @Override
    public void swipeLeft() {
    }

    @Override
    public void swipeRight() {
    }

    @Override
    public void swipeUp() {
    }

}

EDIT:
Can we copy an image from images list and paste it where keyboard is open??

A: The best implementation for an emoji keyboard I found was that of sliding emoji-Keyboard
It's a really good implementation, maybe with some redundant code, but still really good for understanding how to implement keyboards that do not fit the normal "button-to-text" keyboards.
UPDATE
Okay, I have now been able to successfully able to integrate the sliding emoji-keyboard into my own project 8Vim after a lot of re-factoring in both of the projects.
Essentially, all you are doing for the emoji keyboard is to create a view of the size of the keyboard and then populating that view with PNG files corresponding to the emoji's. each image acts like a button and delivers the appropriate emoji to the inputConnection.
UPDATE 2
I have extended the sliding emoji-keyboard and created a much cleaner version that should be easier to understand. Take a look at my emoji-keyboard

redpajama_set_name: RedPajamaStackExchange


text:
Q: How to access methods/variables from swapped custom view I've created a window that contains an NSSplitView in which case the right custom view has a view that I swap into at runtime. The custom view swapped in contains a NSTableView with data inside it. I have a search box in the main window of the application that I want to be able to constrain the rows of the table view with.
I have the code to do this and I know it works, but the code I have was tested with a search text box and table view that were on the same window scope. With the text search box now being in the main window and the table view being in a different custom view, I'm not sure how to get the text search box to call the relevant methods from the custom view's controller class, because I don't have direct access to these method anymore.
I'm sure this is a very beginner question, but any help would be appreciated. Thanks.

A: Have your main window controller pass the search query or filter predicate to a property of the content view controller.
You can give the main window controller a weak-referencing (assign) property that holds the current content view controller. Implement a custom setter that not only assigns to the backing instance variable, but also does the swap. That, any time it's time to do a swap, you simply say self.currentContentViewController = viewControllerToSwapIn, and when it's time to change the query/predicate, you pass it to self.currentContentViewController.searchQuery (having implemented the searchQuery property in the MainContentViewController class and made all your actual content-view controllers inherit from that class).


text:
\section{Introduction}

The series in two variables $\theta (q,x):=\sum _{j=0}^{\infty}q^{j(j+1)/2}x^j$
defines an entire function in $x$ for each fixed $q$, $|q|<1$.
In the present paper we consider three situations:
$q\in \mathbb{C}$, $|q|<1$, $x\in \mathbb{C}$ or
$q\in [0,1)$, $x\in \mathbb{R}$ or $q\in (-1,0]$, $x\in \mathbb{R}$.
We say that the series defines a
{\em partial theta function} (the Jacobi theta function is defined
by the series $\Theta (q,x):=\sum _{j=-\infty}^{\infty}q^{j^2}x^j$ and one has
$\theta (q^2,x/q)=\sum _{j=0}^{\infty}q^{j^2}x^j$, i.e. in the definition of
$\theta$ only partial summation is performed). We regard $q$ as a
parameter and $x$ as a variable.

There are several domains in which the partial theta function is an object of
interest: the theory
of (mock) modular forms (\cite{BrFoRh}), asymptotic analysis (\cite{BeKi}),
statistical physics
and combinatorics (\cite{So}) and Ramanujan type $q$-series
(\cite{Wa}). Additional information about $\theta$ can be found in \cite{AnBe}.

A recent study relates the function $\theta$ to a problem considered by
 Hardy, Petrovitch and Hutchinson, see \cite{Ha}, \cite{Hu}, \cite{Pe},
\cite{KaLoVi}, \cite{KoSh}
and \cite{Ko2}. In the article \cite{KaLoVi} the existence of a constant
$\tilde{q}\in (0,1)$ is proved such that for $q\in (0,\tilde{q})$
the function $\theta (q,.)$
has only real negative simple zeros while $\theta (\tilde{q},.)$ has a
double negative zero the rest of the zeros being negative and simple. The more
accurate value $0.3092493386\ldots$ of $\tilde{q}$ is given in \cite{KoSh}.
The function $\theta$ belongs to the Laguerre-P\'olya class $\cal{LP-I}$
exactly for $q\in (0,\tilde{q}]$. We remind that a function of this class
is either representable in the form

\begin{equation}
\psi (x) = c x^{m} e^{\sigma x} \prod_{k=1}^{\omega} (1+x/x_{k}),
\label{LPI}
\end{equation}
where $\omega \in \mathbb{N}\cup \infty$, $c\in \mathbb{R}$,
$\sigma \geq 0$, $x_k>0$, $m\in \mathbb{N}\cup 0$ and $\sum 1/x_{k} < \infty$
or $\psi (-x)$ is representable in this form.
For each compact set in $\mathbb{C}$, the restriction to it of
each function of this class is a uniform
limit of polynomials with all roots real and negative (or real and positive).

An entire function belongs
to the Laguerre-P\'olya class $\cal{LP}$ if it is of the form

\begin{equation}
\psi (x) = c x^{m} e^{-\alpha x^{2} + \beta x} \prod_{k=1}^{\omega} (1+x/x_{k})e^{-x/x_{k}},
\label{LP}
\end{equation}
where $\omega \in \mathbb{N}\cup \infty$, $c, \beta \in \mathbb{R}$,
$\alpha \geq 0$, $m\in \mathbb{N}\cup 0$ and $\sum x_{k}^{-2} < \infty$.
For each compact set in $\mathbb{C}$, the restriction to it of
each function of this class is a uniform
limit of polynomials with all roots real.

The {\em spectrum} of $\theta$ is the set $\Gamma$
of values of $q$ for which $\theta (q,.)$ has a multiple real zero.
(This terminology has been proposed by B.Z.~Shapiro, see \cite{KoSh}.)
It is shown in \cite{Ko2} that $\Gamma$ consists of countably-many real
numbers denoted by
$0<\tilde{q}=\tilde{q}_1<\tilde{q}_2<\cdots <\tilde{q}_j<\cdots <1$,
$\lim _{j\rightarrow \infty}\tilde{q}_j=1$.
For $\tilde{q}_j\in \Gamma$ the function $\theta (\tilde{q}_j,.)$
has exactly one multiple
real zero which is negative, of multiplicity $2$ and is the rightmost
of its real zeros.

In the present paper we prove the following theorem:

\begin{tm}\label{basictm}
(1) For any fixed $q\in \mathbb{C}\backslash 0$, $|q|<1$, and for $k$ sufficiently
large, the function $\theta (q,.)$ has a zero $\zeta _k$ close to $-q^{-k}$
(in the sense that $|\zeta _k+q^{-k}|\rightarrow 0$ as $k\rightarrow \infty$).
These are all but finitely-many of the zeros of $\theta$.

(2) For any $q\in \mathbb{C}\backslash 0$, $|q|<1$, one has
$\theta (q,x)=\prod _k(1+x/x_k)$, where $-x_k$ are the zeros of $\theta$
counted with multiplicity.

(3) For $q\in (\tilde{q}_{j},\tilde{q}_{j+1}]$ the function
$\theta (q,.)$ is a product of a degree $2j$ real polynomial without real roots
and a function of the Laguerre-P\'olya class $\cal{LP-I}$.
Their respective forms are $\prod _{k=1}^{2j}(1+x/\eta _k)$ and
$\prod _k(1+x/\xi _k)$, where $-\eta _k$ and $-\xi _k$ are
the complex and the real zeros of $\theta$ counted with multiplicity.

(4) For any fixed $q\in \mathbb{C}\backslash 0$, $|q|<1$, the function $\theta (q,.)$ has
at most finitely-many multiple zeros.

(5) For any $q\in (-1,0)$ the function $\theta (q,.)$ is a product of the form
$R(q,.)\Lambda (q,.)$, where $R=\prod _{k=1}^{2j}(1+x/\tilde{\eta}_k)$
is a real polynomial with constant term $1$ and without real zeros and
$\Lambda =\prod _k(1+x/\tilde{\xi}_k)$, $\tilde{\xi}_k\in \mathbb{R}^*$, is a
function of the Laguerre-P\'olya class $\cal{LP}$. One has
$\tilde{\xi}_k\tilde{\xi}_{k+1}<0$. The sequence $\{ |\tilde{\xi}_k|\}$ is
monotone increasing for $k$ large enough.
\end{tm}

\begin{rems}
{\rm (1) In the present paper differentiation w.r.t. $q$ is not used,
therefore for a function $f(q,x)$ we write $f'(q,x)$
instead of $(\partial f/\partial x)(q,x)$.

(2) To prove part (1) of the theorem
we use properties of the (true) Jacobi theta function
$\Theta (q,x):=\sum _{j=-\infty}^{\infty}q^{j^2}x^j$. It is known that $\Theta$ has
only simple zeros (see \cite{Wi}). Hence this is also the case of the function
$\Theta ^*(q,x)=\Theta (\sqrt{q},\sqrt{q}x)=
\sum _{j=-\infty}^{\infty}q^{j(j+1)/2}x^j$.
The zeros of $\Theta ^*$ are all the numbers $\mu _k:=-q^{-k}$,
$k\in \mathbb{Z}$
(this follows from the formula for the zeros of $\Theta$, see \cite{Wi}).
One has

\begin{equation}\label{Theta}
\Theta ^*(q,x)=qx\Theta ^*(q,qx)~.
\end{equation}
The function $\Theta$ satisfies the following identity
(known as the Jacobi triple product, see~\cite{Wi}):

$$\Theta (q,x^2)=\prod _{m=1}^{\infty}(1-q^{2m})(1+x^2q^{2m-1})(1+x^{-2}q^{2m-1})$$
This implies the equality

\begin{equation}\label{Jacobi}
\Theta ^*(q,x^2)=\prod _{m=1}^{\infty}(1-q^m)(1+x^2q^m)(1+x^{-2}q^{m-1})
\end{equation}

(3) We write $x\in \Omega _k(\delta )$ instead of $|x-\mu _k|\leq \delta$,
$\delta >0$.}
\end{rems}

\section{Proof of Theorem~\protect\ref{basictm}}

Represent the function $\Theta ^*$ in a neighbourhood of its zero
$\mu _k=-q^{-k}$ in the form

$$\Theta ^*(q,x)=K(x+q^{-k})\tau (q,x)~~,~~{\rm where}~~
\tau =1+d_1(x+q^{-k})+d_2(x+q^{-k})^2+\cdots ~~,~~
K\in \mathbb{C}\backslash 0~~,~~d_j\in \mathbb{C}~.$$
Noticing that $x=x+q^{-k-s}-q^{-k-s}=-q^{-k-s}(1-q^{k+s}(x+q^{-k-s}))$ and
using $s$ times equation (\ref{Theta})
one finds the following representation of
$\Theta ^*$ in a neighbourhood of $\mu _{k+s}$:

$$\begin{array}{rcl}\Theta ^*(q,x)&=&q^{s(s+1)/2}x^sKq^s(x+q^{-k-s})
\tau (q,q^sx)\\ \\
&=&
K(-1)^sq^{s(-2k-s+3)/2}(1-q^{k+s}(x+q^{-k-s}))^s(x+q^{-k-s})
\tau (q,q^sx)~,~~{\rm where}\\ \\
\tau (q,q^sx)&=&1+d_1q^s(x+q^{-k-s})+d_2q^{2s}
(x+q^{-k-s})^2+\cdots ~.\end{array}$$
Introduce the new variable $X:=x+q^{-k-s}$.
If one assumes that for all $s\in \mathbb{N}\cup 0$ the variable $X$ takes
values in one and the same disk $|X|\leq \delta$, then as $s\rightarrow \infty$
the functions $(1-q^{k+s}X)^s$ and $\tau (q,q^sx)$ tend uniformly
to $1$. Thus for $|X|\leq \delta$ (i.e. for $x\in \Omega _{k+s}(\delta )$)
one has

$$\Theta ^*=K(-1)^sq^{s(-2k-s+3)/2}(1+o(1))X~.$$
For any $B>0$ there exists $k_0\in \mathbb{N}\cup 0$ such that
for $k\geq k_0$ one has $|q^{s(-2k-s+3)/2}|\geq B$ for any $s\in \mathbb{N}$.
Hence there exists $\kappa >0$ such that for $|\eta |\leq \kappa$,
for $k\geq k_0$ and for any
$s\in \mathbb{N}$ the equation $\Theta ^*=\eta$ has a unique
solution $X=X(\eta )$ with $|X|\leq \delta$.

Set $\theta (q,x)=\Theta ^*(q,x)+\Xi (q,x)$, where
$\Xi (q,x)=-\sum _{j=-\infty}^{-1}q^{j(j+1)/2}x^j$. For fixed $q$, $|q|<1$,
the series of $\Xi$ and $\Xi '$
both converge for $|x|>1$, and for any $\varepsilon >0$
there exists $A\geq 1$ such that if $|x|\geq A$,
then $|\Xi|\leq \varepsilon$ and
$|\Xi '|\leq \varepsilon$. (Indeed,
both series as series of $1/x$ are without constant term and the moduli of
all coefficients of the series of $\Xi$ are less than $1$.)

For $k\in \mathbb{N}$ sufficiently large the equation

$$\theta (q,x)=0~~~~{\rm ,~~i.e.}~~~~\Theta ^*(q,x)=-\Xi (q,x)$$
has a unique solution $x=x(q)\in \Omega _k(\delta )$. Indeed, for such $k$
and for $x\in \Omega _k(\delta )$
the equation $\Theta ^*(q,x)=\eta$
has a solution $x(q,\eta )=\mu _k+O(\eta )$ which is holomorphic in $\eta$
for $|\eta |$ sufficiently small. Substituting $-\Xi (q,x)$ for $\eta$
one obtains an equation of the form
$x=\mu _k+\Delta (q,x)$, where $\max _{x\in \Omega _k(\delta)}|\Delta (q,x)|$ and
$\max _{x\in \Omega _k(\delta)}|\Delta '(q,x)|$
can be made arbitrarily small by choosing $A$ and $k_0$ sufficiently large.
Hence
this equation has a unique solution in $\Omega _k(\delta)$.

To complete the proof of part (1) we show that for $k_0$ large enough
there remain only finitely-many zeros of $\theta$ outside the set
$\Sigma :=\cup _{k=k_0}^{\infty}\Omega _k(\delta )$.
We use equation
(\ref{Jacobi}). (From now till the end of the proof of part (1)
we consider $\theta (q,x^2)$ instead of $\theta (q,x)$, similarly for
$\Theta$, $\Theta ^*$ and $\Xi$ which is not restrictive.)
Suppose that $|x|^2\geq |q|^{-6}$
(this is not a restriction since
the function $\theta$ is holomorphic and hence has
finitely-many zeros in any compact set). Then for the products
$\Pi _1:=\prod _{m=1}^{\infty}(1-q^m)$ and
$\Pi _2:=\prod _{m=1}^{\infty}(1+x^{-2}q^{m-1})$ one has

$$|\Pi _1|\geq \prod _{m=1}^{\infty}(1-|q|^m)=:r>0~~,~~
|x^{-2}q^{m-1}|<|q^m|~~{\rm and}~~
|\Pi _2|\geq \prod _{m=1}^{\infty}(1-|q|^m)=r~.$$
To estimate the product $\prod _{m=1}^{\infty}|1+x^2q^m|$
we define
$l\in \mathbb{N}\cup 0$ by the condition $|q|^{-l}\leq |x|^2<|q|^{-l-1}$,
$l\geq 6$.
Thus for $m\geq l+2$ one has

$$|x^2q^m|<|q^{m-l-1}|~~{\rm and}~~
\prod _{m=l+2}^{\infty}|1+x^2q^m|\geq \prod _{m=1}^{\infty}(1-|q|^m)=r~,
~~{\rm hence}$$

$$\prod _{m=1}^{l-1}|1+x^2q^m|\geq \prod _{m=1}^{l-1}(|q^{m-l}|-1)=|q|^{-l(l-1)/2}
\prod _{m=1}^{l-1}(1-|q|^{l-m})\geq |q|^{-l(l-1)/2}r~.$$
There remains to consider the product

$$|1+x^{-2}q^l|\, |1+x^{-2}q^{l+1}|=(1/|x|^4)\, |x^2+q^l|\, |x^2+q^{l+1}|~.$$
The second and the third factor are not less than $\delta$ for
$x^2\in (\mathbb{C}\backslash 0)\backslash \Sigma$. Hence the whole
product is not less than $|q|^{2l+2}\delta ^2$. Thus

$$|\Theta (q,x^2)|\geq r^3|q|^{-l(l-1)/2+2l+2}\delta ^2~.$$
The exponent of $|q|$ is negative for $l\geq 6$. For $h>0$ set
$B_h:=\{ x\in \mathbb{C}\, |\, |x|^2\geq h\}$. Hence
$|\Theta (q,x^2)|\geq r^3\delta ^2$ for $x\in B_{|q|^{-6}}\backslash \Sigma$.
On the other hand $\max _{B_h}|\Xi (q,x^2)|$
tends to $0$ as $h\rightarrow \infty$.
Hence for $h$ sufficiently large the equation $\theta (q,x^2)=0$, i.e.
$\Theta ^*(q,x^2)=-\Xi (q,x^2)$, has no solution in
$B_{|q|^{-6}}\backslash \Sigma$. Part (1) is proved.

To prove part (2) consider the function $h(q,x):=\prod (1+x/x_k)$, where
$-x_k$ are the zeros of $\theta$ counted with multiplicity
their moduli forming a non-decreasing sequence. (The convergence of
the infinite product follows from part (1) -- for large values of $k$
the numbers $x_k$ are approximated by a geometric progression with
ratio $1/q$.) Hence one has
$\theta (q,x)=h(q,x)\Phi (q,x)$, where for each fixed
$q$ the function $\Phi$ is an entire function without zeros. By Theorem~3
of Chapter~I, Section~3 of \cite{Le} one has $\Phi =e^{\varphi}$, where for
each fixed $q$, $\varphi$ is an entire function.

The order of the product of two entire functions of different (of equal)
orders is the
greater of the two orders
(is their common order, see Theorem~12 of Chapter~I, Section~9 of \cite{Le}).
The order of $\theta$ is defined by the formula (see
Theorem~2 of Chapter~I, Section~2 of \cite{Le})

\begin{equation}\label{formula}
\overline{\lim _{k\rightarrow \infty}}(k\ln k/\ln (1/|q^{k(k+1)/2}|))=0~.
\end{equation}
Hence $\Phi$ and $h$ must be (for each fixed $q$)
both of order $0$. This implies that $\varphi$
must be a constant. As $\theta (q,0)=1=h(q,0)$, one must have
$\Phi =1$ (i.e. $\varphi =0$). This proves part (2) of the theorem.

Now we prove part (3).
It is shown in \cite{Ko2} that for $q\in (\tilde{q}_j,\tilde{q}_{j+1}]$
the function $\theta (q,.)$ has $j$ conjugate pairs of roots
counted with multiplicity. Hence for these values of $q$ one can set
$\theta =P(q,x)\psi (q,x)$, where for each fixed $q$,
$P(q,.)$ is a degree $2j$ polynomial in $x$ without real roots and
the zeros of $\psi (q,.)$ (resp. of $P(q,.)$)
are the real (resp. the complex) zeros of $\theta (q,.)$ counted with
multiplicity. We assume that $P(q,0)=1$. Recall that
the real zeros of $\theta$ are all negative.

Consider the infinite product
$g(q,x):=\prod (1+x/\xi _k)$, where $-\xi _k$ are the real zeros of
$\theta (q,.)$
given in the decreasing order. Theorem~4 in \cite{Ko2} implies that
$\lim _{k\rightarrow \infty}\xi _kq^k=1$. Hence there exists $D>0$ such that
$\xi _k\geq Dq^{-k}$. Set $g:=g_0+g_1x+g_2x^2+\cdots$. One has $g_k>0$ and

\begin{equation}\label{gk}
g_k=\sum _{1\leq j_1<j_2<\cdots <j_k}1/\xi _{j_1}\xi _{j_2}\cdots \xi _{j_k}\leq D^{-k}S_k~,
\end{equation}
where $S_k:=\sum _{1\leq j_1<j_2<\cdots <j_k}q^{j_1+j_2+\cdots +j_k}$. It is clear that
$S_1=q/(1-q)$ and

$$S_k\leq \sum _{1\leq j_1<j_2<\cdots <j_{k-1}}q^{j_1+j_2+\cdots +j_{k-1}}
\sum _{j_k=k}^{\infty}q^{j_k}=S_{k-1}q^k/(1-q)~.$$
Hence by induction on $k$ one shows that $S_k\leq q^{k(k+1)/2}/(1-q)^k$ and
$g_k\leq q^{k(k+1)/2}/(D(1-q))^k$.

Thus for each fixed $q\in (0,1)$ the product $g$ is an entire function of
the Laguerre-P\'olya class $\cal{LP-I}$. Its order equals $0$.
Indeed, using again Theorem~2 of Chapter~I, Section~2 of \cite{Le},
the order of $g$
is defined by the formula

\begin{equation}\label{formula1}
\overline{\lim _{k\rightarrow \infty}}(k\ln k/\ln (1/|g_k|))~.
\end{equation}
For large values of $k$ one has

$$1/|g_k|\geq (D(1-q))^kq^{-k(k+1)/2}~~{\rm hence}~~
\ln (1/|g_k|)\leq -k(k+1)(\ln q)/2+k(\ln D+\ln (1-q))$$
and the above limit is $0$.

The function $\psi$ equals $gg_1$, where $g_1$
is an entire function without zeros. As in the proof of part (1) one shows
that $g_1=e^{\tilde{g}}$, where for each fixed $q$,
$\tilde{g}$ is an entire function, and
that the order of $g_1$ equals $0$.
Hence $\tilde{g}$ is a constant and as $\psi (q,0)=g(q,0)=1$, one must have
$\tilde{g}\equiv 0$, i.e. $g_1\equiv 1$.

Part (4) of the theorem results from part (3) -- for $k$ large enough the zero
of $\theta$ which is close to $\mu _k=-q^{-k}$ is simple and only
finitely-many of its zeros are not of this kind.

To prove part (5) notice that for $q\in (-1,0)$ the numbers $\mu _k$
are real and change alternatively sign. As $\theta (q,x)=\theta (\bar{q},x)$,
part of the zeros of $\theta$ are real and the rest form conjugate pairs.
For large $k$ there is just one zero of $\theta$ close to $\mu _k$
hence this zero is real. The condition
$\tilde{\xi}_k\tilde{\xi}_{k+1}<0$ follows from the alternative changing of
sign of $\mu _k$. As in the proof of part (3) we show that
$\theta =R\Lambda _1\Lambda _2$, where $R$ is a real polynomial with constant
term 1 and without real zeros and $\Lambda _i$ (of the form
$\prod _k(1+x/\tilde{\xi}_{i,k})$) are functions of the
Laguerre-P\'olya class $\cal{LP-I}$ ($\tilde{\xi}_{1,k}>0$,
$\tilde{\xi}_{2,k}<0$). Hence
$\Lambda :=\Lambda _1\Lambda _2\in \cal{LP}$. For $k$ large enough the
sequence $\{ |\tilde{\xi}_k|\}$ is monotone increasing because $\tilde{\xi}_k$
is close to $\mu _k$.
Theorem \ref{basictm} is proved.

redpajama_set_name: RedPajamaArXiv


text:
Q: Need Help Understanding How Coarse-Grain Mapping Works in Parallel This is a somewhat difficult question to ask (as I'm dealing with an abstract problem), so I will do my best to describe it here.
I am working on C code that is capable of solving LU decomposition in parallel. My code uses a 2D coarse grain parallel algorithm structure to solve multiple parts of a given matrix at the same time. My code is listed below, and I am using this PowerPoint as a general reference (see slide 19 and 17). The code works perfectly fine with serial outputs (N = 1) and r x r square matrix definitions.

/*

use calloc to assign heap memory for 2D arrays

*/

// mapping algorithim goes here?

                /* Implement a 2D - coarse grain LU decomposition solving algorithim */
                for (int k = 0; k < r; k++) {
                     MPI_Bcast(&arrayInFunction[k][j], r, MPI_LONG_DOUBLE, rank, MPI_COMM_WORLD);
                    if (k < r) {
                        for (int i = k + 1; i < r; i++) {
                            lowerTArray[i][k] = arrayInFunction[i][k] / arrayInFunction[k][k];
                            printf("This is lower %lf \n", lowerTArray[i][k]);
                        }
                    }
                     MPI_Bcast(&lowerTArray[i][k], r, MPI_LONG_DOUBLE, rank, MPI_COMM_WORLD);
                    for (int j = k + 1; j < r; j++) {
                        for (int i = k + 1; i < r; i++) {
                            arrayInFunction[i][j] = arrayInFunction[i][j] - lowerTArray[i][k] * arrayInFunction[k][j];
                            printf("This is upper %lf \n", arrayInFunction[i][j]);
                        }
                    }
                }

/*

Print the LU matrix

*/

Where arrayInFunction is essentially the A matrix.
I am having a little bit of difficulty understanding how to implement the coarse - grain mapping expression shown in slide 17 of the previous link. Note that the 2D grain "task formula" is defined as  (n/k)^2/p , which makes perfect logical sense, but I am unsure how to implement this successfully into the LU decomposition code. Without this mapping algorithm, my code is basically just an overcomplicated serial solution  with extra MPI communication on multiple processes (not good).
I would like someone to share an example on how to implement mapping / task management to LU decomposition algorithms. Or, I would also accept an answer that points out where / how (in the code above) I need to define and implement (n/k)^2/p (assuming the solution is that simple ;)  ). I have read conceptual explanations, but have not been able to successfully implement this idea.
Thanks all,

A: LU decomposition requires considerable reformulation to make it work in parallel.

*

*At the very least you have to block the outer loop so that you synchronize only every so many pivots.

*Unfortunately that's not enough: you have to distributed your matrix cyclically over the processes.

There is a reason that there are basically only 2 or 3 packages on earth that implement this.
Read: https://theartofhpc.com/istc/parallellinear.html#LUfactorizationinparallel


Oil painting on paper by Marianne North of Benares, dated 23rd October 1878. Marianne North visited India in 1877-79 and completed over 200 paintings whilst there.
In her autobiography, 'Recollections of a happy life' of 1892, she wrote, "I...went every morning to sketch on the river, where there was such a picturesqueness that the attempt to paint and reproduce it almost drove me to despair. Sitting in a boat anchored by a rope or a stone, with a fidgety man holding an umbrella between me and the cloudless morning sun, is not a comfortable mode of painting. After two days work I began to hope the first sketch might give an idea of the thing... and I began another with the Nepaulese pagoda in it, and some of the sliding temples, which had come down the hill quicker than they intended. There were large palaces half buried in the river, and all out of the perpendicular, which had dropped down bodily from the treacherous banks above, greatly adding to the picturesqueness; and on those fragments pilgrims had perched themselves."


text:
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redpajama_set_name: RedPajamaGithub