When running multiple applications such as a C-code application and Motion Console, you might encounter unexpected behavior where actions meant to be performed on one axis are actually performed on a different axis.
A common mistake when running multiple applications on a host system is having inconsistent axes mapping on a motion supervisor. Since the Motion Supervisor is a host-based object, a Motion Supervisor's axes mapping will only be loaded onto the controller when the application runs and an action is performed.
Be aware of the fact that when an action is performed with an application, an application's axes mapping is loaded onto the controller.
Use different Motion Supervisors to control different axes.
A Motion Supervisor should be mapped to the same axis across all motion applications on a host system.


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Scheduler & Calenders
With a focus on simplicity and a clear line: stationery from Korea.
In East Asia, a particular affinity for stationery in a sophisticated quality is deeply rooted and widely accepted. The absorbency and surface characteristics of fine uncoated paper are valued, and young brands come up with stationery in a fresh look but with subdued printed ruling, due to the widespread use of fineliner pens which have proven to be best suited for writing in complex characters. We have selected a few notebooks and notepads from high-quality stationery producers in South Korea.
Not for Representational Purposes Only. A Paper for Joy in Everyday Life.
The outstanding characteristics and undisputed extraordinarily high quality of Japanese stationery have partly to do with the fact that Japanese writing is difficult to mechanise on a typewriter. The first typewriters were introduced at the beginning of the last century. In addition to Japanese syllable writing the Chinese characters called "Kanji" are common in Japan. The Kanji prove to be exceptionally difficult to reproduce. Until the introduction of the personal computer in the office, it was customary therefore to write business correspondence by hand, and one used the best stationery available to leave a good impression. The passion for extraordinary stationery has survived in Japan even if it is not used for official correspondence anymore. For daily notes, a paper like the lined note paper offered here is put to use. It's thread-sewn and features a spine reinforced with black and gold embossed spine tape. An obscure, if amusing side remark: By printing "containing best-ruled foolscap" the Japanese manufacturer came a cropper. Because none of these notebooks is in foolscap, the traditional Anglo-Saxon paper format somewhat larger than DIN A4.
A 54 page pad, enough for a year. Lined for a weekly schedule, six columns (Saturday and Sunday share a column). Chamois coloured untreated paper (100 g/m²). 21 x 29.7 cm. Adhesive binding on the spine. The pad comes from South Korea.
Enamel Weekly Schedule
X47 Personal Organizer System A6
Check List Note Pad A5
Reversible Folding Letter
Notepad Feint-Ruled Landscape Format
Manufactum A5 Tear-Off Pad With Linen Binding
Diary to Match Decade Calendar
Manufactum A5 Notepad
Note Pad with Coil Binding
Correspondence Card

redpajama_set_name: RedPajamaCommonCrawl


Yesterday I had phone call that left me having a complete meltdown. I'm a person who is prone to anxiety & depression but having hormones & lack of sleep due to a 3 month old has made me extremely sensitive these days. A situation that I would normally find just a little stressful has completely broken me. I reached out to friends & found comfort and thanked God for the blessing of them in my life. But the wellspring of sorrow in my heart could not be quenched so I cried out to God for help. He promises in James 4:8 that if we will draw close to Him, that He will draw close to us. My favorite verse is Psalm 34:18 "The Lord is close to the brokenhearted & saves those who are crushed in spirit". It was a hail mary prayer last night sent up to heaven asking for help.
And when I opened my email this morning this devotional (click here) from Proverbs 31 ministries was waiting. It's actually from 2 days ago but I just read it today & I know that was God's hand. "Be still" & "Do not Worry" leaped off the pages & spoke to my heart. Later in the day my husband called to check on me. He's a smart man & has learned the signs of when I need a helping hand & a whole lot of love… praise God for blessing me with that man! I poured out my heart to him choking back the tears & as I hung up I knew that it wasn't my friends or even my husband that I needed it was God. So as the baby slept I opened my bible & verse after verse began to come to my mind & I began to google where to find them & read them. The 1st was Romans 12:18 "If possible, so far as it depends on you, be at peace with all men". Then Matthew 6:14-15: "If you forgive those who sin against you, your heavenly Father will forgive you. BUT if you refuse to forgive others, your Father will NOT forgive your sins". I don't know about you but that really struck me. If I don't forgive someone God will not forgive me & boy do I need his forgiveness every single day. "But when you are praying, first forgive anyone you are holding a grudge against, so that your Father in heaven will forgive your sins too"-Mark 11:25. Again he was telling me that if I expected Him to hear my prayers & forgive me of my own sins I FIRST had to forgive the other person. That's when I understood how important forgiveness is to God.
I'm not good at forgiveness, in fact it's something I've always struggled with. But over the years, through a lot of trial & error, I've learned how to forgive more quickly. I'm certainly not perfect at it & it continues to be my toughest struggle but I've come a long way. I use to hold on to unforgivness because I didn't think the other person deserved it, but God began to reveal to me that forgiveness is more important for me than the other person. Holding on to that bitterness didn't hurt the other person, it was hurting me. I would think about them & my hurt/anger constantly, it would replay in my mind, & when I saw that person only hatred would come out. It wasn't until I started to forgive others that I found release & finally peace within myself. That is why God calls us to forgive, he wants the best for us & he wants us to have peace. Forgiveness is not about whether the other person deserves it.
In Matthew 18:21-35 Jesus tells a story about an unforgiving person. Peter (who I just love because I think he has my perfectionist type A personality) asks Jesus how many times he should forgive someone. In response he tells him this story about a man who owed a huge debt to the king & the king forgave his debt & told him he didn't have to pay. The man then leaves & goes to a man who owes him a very small debt but when that man couldn't pay he threw him into jail. The king hears about what he had done & says "you evil servant! I forgave you that tremendous debt because you pleaded with me. Shouldn't you have mercy on your fellow servant, just as I had mercy on you? Then the angry king sent the man to prison until he had paid every penny." Then Jesus says "that's what my heavenly Father will do to you if you refuse to forgive your brothers & sisters in your heart." In this story God is the king & we are the servant. If we don't forgive others we provoke God's anger against us. In his great mercy God forgives us & expect us to show the same mercy & compassion towards others. Even in the Lord's Prayer Jesus leads us by example as he prays "Forgive us our sins, just as we have forgiven those who have sinned against us." The famous author CS. Lewis put it like this "To be a Christian means to forgive the inexcusable because God has forgiven the inexcusable in you".
As I said, I'm not perfect & this is a daily struggle for me. Instead of being angry & not forgiving those in my life that are causing me stress, I'm choosing love & joy. The last two days the song "Rejoice in the Lord always, again I say rejoice" has come to mind. This is a Sunday school song I haven't heard in years but I believe God placed it on my heart. As I was studying these scriptures I found myself singing it again & decided to look up this verse. It says "Always be full of joy in the Lord, I say it again- Rejoice! Let everyone see that you are considerate in all you do. Remember the Lord is coming soon"- Phil 4:4-5. Praise God that He is coming soon to wipe away our tears, to forgive us of our sins, & take away the cares of this world. I look forward to that day with eager anticipation! Do you? Or are you afraid of what He might say to you if He was to return today? Is there someone in your life that you are holding a grudge against who needs your forgiveness?
I hope these versus will speak to you today & bring you the hope & encouragement that only forgiveness through Christ can bring.


David W. Latko | Latko Wealth Management, Ltd.
Born into modest circumstances and raised in hard-working Hammond, Ind., David W. Latko entered Indiana University at age 16, graduated at age 20 with a B.S. in Education, and went on to earn dual Masters Degrees in Public Administration and Judicial Administration.
Initially, David pursued a career in the legal system, working in the courts before following his interest in investments into the financial world. His success there took him to a seat on the San Francisco Options Exchange, and then starting in 1981 to increasingly more prestigious positions in several of the world's premier "brand-name" financial firms.
This new company would not depend on steering customers into "product-of-the-month" purchases, nor would it pressure customers into frequent "buy-and-sell" cycles to boost per-transaction commissions. Just as important, this new company would be responsive to its clients—listening to them, communicating with them clearly and frequently, caring about their lives and happiness … even when it wasn't trying to sell them on some "new" approach or speculation.
This new company became Latko Wealth Management, Ltd. which today oversees tens of millions of dollars of clients assets. And it does so with the same philosophic approach with which David entered the business in 1981. The results have been clear: ongoing growth of the company, and such additional honors as being named a SmartVestor Pro in association with Dave Ramsay, talk-radio host and a national leader in the field of financial management and a five time Chicago Magazine Five Star Wealth Manager award recipient.
Today, David remains the same man who once worked and studied on an 18-hour daily schedule—a hard-working attitude that many of his clients have shared in reaching their own success. He enjoys the rewards of a close-knit family with whom he now works in his company, a comfortable life and his own passions: writing his books, using his decade-long experience as a nationally broadcast talk-radio host to further his own financial research, delving the intricacies of today's real estate market, and savoring his collection of fine automobiles.


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The Frick Collection: Cocktails with a Curator https://www.frick.org/interact/miniseries/cocktails_curator
The Kelmscott Press Collection https://libcat.csglasgow.org/web/arena/kelmscott
Glasgow Society of Lady Artists Club Collection https://libcat.csglasgow.org/web/arena/glasgow-lady-artists
Discover Art https://artuk.org/
Français Authentique https://www.francaisauthentique.com/
Online Sudoku https://sudoku.com/
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Poem – My Animals
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Home > Trailers > Wow, A Plague Tale: Innocence looks like powerful stuff
Wow, A Plague Tale: Innocence looks like powerful stuff
Review by Matt S.
There is perhaps no period of European history more terrifying and bleak than the years of the Black Death. This was a time when, across Europe, not only was violent religious zealotry an everyday reality, but there was a plague that no one had an answer for which would, eventually, kill as much as 60 per cent of the European population.
Focus Home Entertainment, in collaboration with Asobo Studio, is tackling this very dark, brutal, and terrifying point of history in A Plague Tale, from the most innocent of perspectives; you play as a young girl who is responsible for the survival of her little brother (one assumes that the parents were victims of the Death). Now, 14th century France was no place for a young girl by herself, and no only do you need to deal with the threat of rats and disease, but also the human side of a world that is descending into anarchy and chaos.
This game has the potential to be incredibly powerful stuff. We're a little concerned about the heritage of the studio; Asobo's work in the past has been largely licensed properties, such as Monopoly, Garfield, Ratatouille and Toy Story, but this might be the studio's big opportunity to push into a much higher standard of game development.
Certainly, as you can see from the developer diary below, the game's looking impressively emotive and evocative. A Plague Tale launches on PlayStation 4, Xbox One and PC on May 14.
Please help keep DDNet running: Running an online publication isn't cheap, and it's highly time consuming. Please help me keep the site running and providing interviews, reviews, and features like this by supporting me on Patreon. Even $1/ month would be a hugely appreciated vote of confidence in the kind of work we're doing. Please click here to be taken to my Patreon, and thank you for reading and your support!


At only 11 square miles and with a total population of three million people, Albania might be small, but it's certainly not lacking in things to do and see. From the stunning beaches of the Albanian Riviera to the gorgeous archaeological sites, Albania will not disappoint you. Here's a list of top 20 must-visit attractions in the country.


Sitting within the transaction banking business, this position will take full responsibility for driving the payment product portfolio forward. The successful candidate will work autonomously, taking the product through full end to end delivery. This position requires the successful candidate to work closely with a number of internal functions both locally and globally.


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Supertramp Crime Of The Century (1974), Crisis? What Crisis? (1975), Even In The Quietest Moments (1977), Breakfast In America (1979)
From popmatters.com
When it comes to today's generation of pop groups, it's the letter B that gets all the glory when it comes to naming influences. The Beatles, the Beach Boys, and the Byrds tend to get the most credit for inspiring musicians to pick up an instrument and start emulating; from there, there's Big Star, the Bee Gees, and Badfinger.
These are pretty obvious (and valid) picks, all of them.
There are, however, some influences who've quite a bit of influence as well, even though they don't tend to get mentioned in the same breath on quite as regular a basis.
You've got your Queen, who produced quite a bit more than just "We Will Rock You", "We Are the Champions", and "Another One Bites the Dust". You've got your 10CC, who said "I'm Not in Love", then waxed lyrical on "The Things We Do for Love". And, of course, you can never forget ELO, mostly because Jeff Lynne won't let you.
But you've also got your Supertramp.
Album-oriented radio, as it's done to countless other artists, has diminished the impact of Supertramp over the years, though, leaving the casual listener with the impression that the band had a few good tracks, but, ultimately, not much else. Most folks who didn't come of age during the '70s probably couldn't even tell you the name of a single Supertramp album, though they might ask, "Does The Very Best of Supertramp count?"
But if actually you lived through the '70s, then not only would the phrase Breakfast in America erupt through your lips, but you could probably identify its album cover from half a block away.
A&M Records has taken to re-issuing the band's seminal work in re-mastered form, and, when you're talking about Supertramp, "seminal" begins with their third album.
I'm not sure how this piece of trivia got past me for lo these many years, but until researching the band's history for this review, I was unaware that Supertramp actually got its start courtesy of a young Dutch millionaire named Stanley August Miesegaes. Miesegaes, it seems, was friends with Rick Davies, and, though it sounds suspiciously like an apocryphal anecdote, the story goes that, in 1969, the poor little rich boy offered Davies the opportunity to form a band and put the cost on his tab.
After an ad in Melody Maker, Supertramp was born. And, then, after two not-very-successful albums (a self-titled debut, followed by Indelibly Stamped, neither of which warranted re-mastering in A&M's eyes), Miesegaes withdrew his financial support, leaving Supertramp without much in the way of money or fans. Ouch. That's gotta hurt.
But then 1974 rolled around, and the band released the aforementioned third album, Crime of the Century. And unlike its predecessors, Crime of the Century had far less in the way of prog-rock noodlings, instead showing the band evolving toward more of a pop sound. Indeed, this was the album that produced "Bloody Well Right" and "Dreamer"; it also contains the lesser-known album track "If Everyone Was Listening" a song which, though it didn't make the cut for the band's first best-of, scored inclusion on Volume 2.
Next up was Crisis? What Crisis? , which showed the band finding their way closer and closer to the middle ground between prog and pop, though it doesn't possess any song that screams "hit single". Certainly, the album possesses a stellar pair of openers in the form of "Easy Does It" and "Sister Moonshine". "Ain't Nobody But Me" may not be any great shakes, but "A Soapbox Opera" more than makes up for it. Meanwhile, Jellyfish missed an opportunity by not covering "Poor Boy". (In fact, when you come right down to it, when you look at their song arrangements after listening to these re-issues, it becomes clear that Jellyfish were probably just as inspired by Supertramp as they were by Queen, or anyone else for that matter.)
Even In The Quietest Moments followed much the same format as its predecessor, although it did remedy one error right up front, providing the band with an unforgettable hit single in the form of "Give A Little Bit" as the album's opener. The instrument that graces the album cover is no coincidence because the material is almost entirely piano-based. Although some of the songs are a bit long (the album only has seven songs, and four of them are over 7 minutes in length), each track is a pop symphony unto itself. "Fool's Overture", the album's closer, is positively epic in scale (10+ minutes), with a keyboard bit somewhere around the 3-minute mark that may or may not have been cribbed by the Buggles for their song "Living in the Plastic Age".
Still, as strong as Even in the Quietest Moments may have been, it was its follow-up that was the band's defining moment. Of course, it was also the watershed album in the band's career, because, y'know, how can you top Breakfast In America?
The answer, inevitably, is that you can't.
And Supertramp didn't.
When they finally got around to releasing the follow-up studio album, Famous Last Words, the best song they could muster as a single was "It's Raining Again". No, it's not a bad song, but when you compare it to Breakfast in America's "The Logical Song", "Goodbye Stranger", and "Take the Long Way Home", it's certainly not up to those standards.
Neither history nor the majority of Supertramp's fans would deny that Breakfast in America is the strongest album in the band's discography. From "Gone Hollywood" all the way through the grand finale, "Child of Vision", this is an unabashedly melodic record. Almost entirely free of pretense and limited in pomposity, it's just good old-fashioned pop music. It might not be a generation-defining album like Frampton Comes Alive, but very few individuals escaped the '70s without having the melodies from at least one or two of this album's tracks stuck in the back of their mind for the rest of their lives.
It's pretty easy to rank these four re-issues. Start with Breakfast in America and work your way back. And ignore anyone who says you only need a best-of collection. Once you've actually heard it, you'll find that, unlike the albums that came before and after it, Breakfast in America is absolutely indispensable.
Still, it's a shame about the name, don't you think? I mean, honestly: Supertramp? Even now, that's got to rank as one of the 10 worst band names ever.
May 14, 2013 Posted by Jerry | Supertramp Breakfast In America, Supertramp Crime Of The Century, Supertramp Crisis? What Crisis?, Supertramp Even In The Quietest Moments...	| Supertramp | Leave a comment
Supertramp Breakfast In America (1979)
From donignacio.com
Is there really any doubt that this was Supertramp's shimmering moment? Not only was this by far their greatest commercial success, but it also has their highest concentration of excellent songs.
"The Logical Song" I'm sure everyone recognizes from the classic rock radio–each station of which must play it at least a half dozen times per week. And if you're anything like me, you really love hearing it when it pops up. Not only does it have a very catchy melody that was designed by Roger Hodgson to sound like a Beatles song, but it has lyrics that contain some enjoyable rhyming patterns. ("When I was young / It seemed that life was so wonderful / A miracle / Oh, it was beautiful, magical").
Of course the song is beautifully produced, too. It contains use of their characteristic pulsating electric piano, and in this instance, it actually helps lend the song a crunchy texture as opposed to a simple flurry as it was in "Dreamer." And everyone who ever discusses the song loves to bring up the saxophone solo, which they should bring up because it is utterly phenomenal.
This album, by the way, is usually called Supertramp's pop album. It is said they were inspired to make this album, because they wanted to do something fun for a change. Which wasn't a bad idea at all, because all albums ought to be fun… Shouldn't they? The opening song "Gone Hollywood" is instantly notable for Hodgson giving an impeccable imitation of the Bee Gees' feathery falsetto vocals. But don't worry if you're the type who hates disco: the song is rooted far more in progressive-rock than it is disco. If you doubt that statement, notice that it contains an extensive section that is heavy on the subdued atmosphere and noodly saxophone, which requires a grand-sized crescendo to return to the verses.
Another progressive-ish song is the album's closing song "Child of Vision," which is tight and polished, and I like those moments when Hodgson sings his long-drawn-out crooning "Chiiiiiiild of Viiiiiision, Wooooon't Yooooooou Liiiiiiiisten?" It also has a very enjoyable, extended jazz piano solo in its final third. However, the main thing holding it back, for me, is that's yet another instance of Supertramp totally abusing their signature, pulsating synthesizer sound. I mean, it just gets monotonous.
The title track is pretty great, though. It's not really Beatles-esque, but I could definitely see it appearing on Band on the Run. Except I don't think Paul McCartney would have brought in those not-so-subtle Middle-Eastern influences into the mix! …And, yes, you're going to have to hear that bendy clarinet solo in there, which is positively golden. "Oh Darling" might share the name of a Beatles song, but it's a totally different tune. Not as good, of course, but it's nevertheless perfectly nice with a decent melody and some lovely acoustic guitar textures. (With that said, I'm less enamored with that keyboard pattern they play throughout the song that never changes.)
If Hodgson was in the habit of writing Beatles-esque tunes, then "Lord is It Mine" must have been his "Let it Be." It's the kind of piano ballad with a beautiful melody that sticks in your mind, and its melancholic lyrics that manage to manifest itself in my throat with a lump. Although the standalone lyrics aren't exactly great poetry. ("I never cease to wonder at the cruelty of this land / but it seems a time of sadness is a time to understand / is it mine, Lord is it mine?") But hearing how Hodgson performs it in the song, he has a way of making me hang onto every word of it for dear life. Another one of this album's great songs is "Take the Long Way Home," which starts off with one of the coolest harmonica solos that I've ever heard in a pop song. Its melody is so catchy and the chorus is so soaring that it's one of those songs that I have the irrepressible urge to sing along with.
The weakest bits of the album end up coming towards the end, starting with "Just Another Nervous Wreck," a theatrical number with heavy vocals. It makes a fine listen, but there's nothing particularly spectacular there in terms of melody. It doesn't even have a cool sax solo to keep me interested! (There is an electric guitar solo in there, but somehow Supertramp seems better with woodwinds.) "Casual Conversations" is another song that doesn't thrill me to death; it comes off as a undeveloped, especially with that plodding synthesizer pattern that doesn't go anywhere. But it has a perfectly pleasant tune, so I won't complain about it too much.
This isn't a perfect album by any means, but I think I am in agreement with the world that this is by far Supertramp's greatest album. I mean, it's the one with "The Logical Song" on it. What else do you want?
April 20, 2013 Posted by Jerry | Supertramp Breakfast In America	| Supertramp | Leave a comment
Superrtramp Crime Of The Century (1974)
"Crime of the Century" is the name of the album , but in hindsight " Surprise Of The Century " would of been a more apt title . Supertramp were formed in 1969 around Richard Davies , with the financial backing of Stanley August Miesegaes
(Known to his friends as Sam) .In the first auditions Richard met Roger Hodgson , who were to become the nucleus of the band we now know from legend as Supertramp. After various name changes the band decided to be called Supertramp after Sam suggested it from the W. H. Davies book published in 1910, 'History of a Supertramp.'
The first self titled Supertramp album is released in 1970 , to no public or critical acclaim , the rest of the band are either fired , have a nervous breakdown ,or jump ship. A second album is recorded 'Indelibly Stamped' ( 1971) which if anything fared even worse than it's predecessor. ( Both of these albums feature rather aimless songs featuring meandering solo's and indifferent lyrics instantly forgettable .) after the tour to promote, Indelibly Stamped, the three new recruits to the band are all fired leaving just the duo of Davies and Hodgson again, at this point Sam separates from the band paying off the 60,000 pound debts already incurred , wishing them all the best for the future , but severing any further ties .
Davies and Hodgson bravely keep going recruiting new musicians in the shape of magical saxophonist John Anthony Helliwell ( Ex 'Alan Bown Sound' )The rock solid jazzy drumming of Bob.C. Benberg ( Ex 'Bees Make Honey ', and 'Ilford Subway' with American Scott Gorman before he became famous with 'Thin Lizzy'.)Perhaps most importantly of all Dougie Thomson came in on Bass guitar and also took over the business management of the band .At this point the band are gigging day to day to survive whilst writing new material for the proposed new album . But A&M Records had no future plans for the band, in fact they thought Supertramp had imploded . Roger Hodgson, Richard Davies under the watchful eye of new partner Dougie Thomson went back to A&M Records to plead their case for another bite at the cherry. For once somebody at the record company got it right .
In November 1973 the band are moved lock stock and if you want smokin' barrel to a farm in Somerset ,England to work on the new material for the next album , from there in February 1974 they are moved onto Trident Recording Studio's in London with the excellent Ken Scott holding down production duties , in June the band finish off recordings in the famous Ramport Studio's .The third album under the Supertramp banner is released in September 1973, and with the full weight of the A&M publicity machine behind them, coupled with some ground breaking and prestigious live concerts, the band become overnight sensations . The first single off the album " Dreamer" ( Which was to be the template for the Supertramp sound from here on, hammering piano, searing guitar licks , beautifully contrasting harmonised vocals, with catchy amusing lyrics , combustible saxophone and clarinets ,with a jazz influenced rhythm section.) was to peak at Number 13 in the British charts followed by the album itself which was in the Top Five by Christmas of that year .
All the songs on the album have a conceptual theme to them in this case insanity . All sorts of insanity whether it be brought on by ,Education( School), Dreaming( The first single), Love (Rudy),Shyness ( Hide In Your Shell) or authority ( The title track). Every track is instantly recognisable as Supertramp , and the album as a whole runs together perfectly , starting with the haunting harmonica opening of School to the final rousing crescendo of the title track . In-between there are some splendid melodies ranging from many of the bands influences ,Folk, Progressive/Rock, Pop, Jazz and the Classics ,combining the vocal talents of both Hodgson and Davies in there contrasting manner, giving Supertramp that essential variety, which is used in quite devastating effect on the albums centrepiece song Asylum ,where they both sound as if they are completely going off the planet , quite a blend you may think , but it all gels to stirring effect .
Supertramp were to go on to conquer the Adult oriented world of Rock music ,even the advent of Punk Rock did not dent their mercurial rise to Stardom . Three more smash hit albums were to follow, " Crisis What Crisis?" (1975) , " Even In The Quietest Moments" ( 1977) and culminating in the Worldwide Number One album "Breakfast in America"( 1979) which was to spawn four Hit singles on it's own ( In those days Hit singles used to mean something .) The band toured Internationally on the strength of these records and would fill Stadiums where ever they went .
As in many marriages ,something that started out as blissfully perfect ruptured into bitterness and in family fighting, after one more not so successful album and world tour ,Roger Hodgson left the family taking with him John Anthony Helliwell, leaving Richard Davies to carry on with the name Supertramp . Of course by this time none of them needed to work for the money , and really did not care, nor to be quite honest did the public, enough was enough . Both carried on their careers in a very lack lustre manner , but were never to find that original spark again . All good things must come to an end.The Tramp was super for a long time and made enough to retire to it's mansion , I do like a story with a happy( If not perfect) ending .I wonder if Stanley August Miesegaes " Sam" ever got repaid for his original funding of the dream?
April 15, 2013 Posted by Jerry | Supertramp Crime Of The Century	| Supertramp | Leave a comment
Supertramp Crime Of The Century (1974)
From sputnikmusic.com
Review Summary: Crime of the Century is one of the better albums to be fished out of the sea that is 70's progressive music and is Supertramp's best work.
Being a teenager can be a hard and sometimes confusing time. A few years before my teen years began, my parents were involved in a somewhat lengthly and bitter divorce. On the day that my father moved out he gave me one of the greatest gifts I have received even to this day, his record collection.
At the time I had no idea what a monumental gift this was, but something changed when I became a teenager. One day when I was about fourteen or so I stumbled across my Dad's record player in a box in the garage. I dusted it off, plugged it in, and then began my search through my dad's old records. The first things that grabbed my attention were albums that I had known all my life by the likes of The Beatles, Led Zeppelin, Pink Floyd and the Who, but as I went through the boxes I began to see albums for bands I knew very little about or not at all. At the bottom of one of the boxes was Supertramp's Crime of the Century. I remember just staring at it for a few minutes.
The depiction of a man trapped behind prison bars instantly struck a chord. After a few more minutes of taking it all in, I put the album on. The album remained on that turntable for a good two weeks before I put anything else on. Supertramp had managed to capture the confusion, rebellion, and angst of being a teenager better than any of the other albums that I began to obsess over. It wasn't like Roger Waters' constant blaming of everyone but himself for his unhappiness like in Pink Floyd's The Wall nor was it the unabashed rage and animalistic spirit championed in Alice Cooper songs like Eighteen or Schools Out, Crime of the Century had a universal element to it that made it easy to relate to and more personal than the other albums of the like.
"Do as they tell you to/ Don't want the devil to/ Come and pull out your eyes"
Lyrically, all of the songs on Crime of the Century are built off of the anger and alienation that come from being a confused, angsty young man. The opening track, School, is a diatribe on exactly that. The next track, Bloody Well Right, continues this theme where Roger Hodgson blast "So you think your schooling's phoney, I guess it's hard not to agree" as he sets the opening tone of the song. Together the two tracks come off with an anti-conformity vibe that is very reminiscent of Pink Floyd's The Wall.
The track, Rudy, is an attempt to add a personal side to that definitive James Dean style bad-boy with its character study of the song's namesake. Not everything is as bleak and anger driven as these songs though. The album's main single, Dreamer, comes across as stressing that classical ethos where even though it may be impossible for your dreams to ever come true, its the fact that you try and never give up and keep that optimistic spirit that really matters.
Musically, on Crime of the Century Supertramp play 70's radio-pop with strong progressive tendencies. Neither side of Supertramp is superior over the other and they seem to play off of each other. Whenever the band lay heavy on their prog-chops they are quick to revert to their more sensible pop side. This keeps the music interesting and fresh since there are many shifts in the music stylistically and in time signatures. The opener and closer of the album, School and Crime of the Century respectively, are the most progressive tracks. School begins with a lonesome harmonica that reinforces the image of being trapped behind bars before spacey chords and driving bass power the verse.
Then the band really begins to show their chops with an amazing piano solo. Before Supertramp can go balls to the wall prog the 2nd track begins with its heavy blues influence shining through. Crime of the Century is rather similar to Dark Side of the Moon era Pink Floyd where at first listen the track seems rather simplistic in its make up, but slowly begins to unveil itself after repeated listens. It begins as just a simple piano ballad but soon shows its teeth with a ripping guitar solo as it builds to its crescendo with strings and saxophone overlapping piano and pounding drums.
As strong as this album is, it does have one downside: you begin to outgrow it. When I was 14 I listened to Crime of the Century constantly, now it only gets a few plays a month. When you are a teenager this album seems like a classic performance rooted in teen angst, but as you get older there becomes a disconnect. Since the lyrics are so rooted in the teenage experience it can seem a bit juvenile at times. Despite this sometime juvenile approach, Crime of the Century is one of the better albums to be fished out of the sea that is 70's progressive music and is Supertramp's best work.
April 4, 2013 Posted by Jerry | Supertramp Crime Of The Century	| Supertramp | Leave a comment
From seaoftranquility.com
From the opening moments of the first song "Gone Hollywood" when you hear the crisp, clear piano it is obvious that this is a disc sorely in need of a remastering. I pulled out my old vinyl and confirmed that fact. By the time you hear all of the musical nuances that fill "The Logical Song" a smile will come to your face as you realize the magic that Supertramp brought to the world. Who can forget the sax solo that highlights the previously mentioned song for one? Supertramp opened up many avenues and took us to places where you were much better off for visiting.
As I put this on and reminisced with an old friend it was good to hear how well the music has survived the years and come out the better for it. Remembering some of the glorious past times that we shared it was like we had never been apart. As one of my fondest memories "Goodbye Stranger" hit my ears I could not help but flashback to the days when cruising the countryside of Central Michigan with this blaring was part of many a fantastic summer night. Now as I did the same thing with this magnificently remastered edition it is like the years have melted away.
The Supertramp formula of pop, progressive, humor and whimsy has always been a winner but to hear it as crystal clear as this one is done is just short of Nirvana for a fan. The subtle guitar on "Oh Darling" and the terrific harmonies bring chills to hear again in such dynamic fashion. "Take The Long Way Home" sounds as if they are playing right there wherever you happen to be listening to it. The tantalizing keyboards and clarinet really come to life and you almost have the joy of hearing something new as each piece of this musical puzzle is on display in full fashion which just wasn't possible when it was first released.
One of my favorite moments from the original disc was the song "Lord Is It Mine". As powerful as it struck me back then, this update can bring tears to the eye. This dramatic song benefits most from the new technology applied and I am really glad it is here. They had a way of really wrenching the emotions and this one run you through the wringer.
The opus "Child Of Vision" which closes out the disc will never sound better. Just as an example of what this update has done is evident when you listen to the bass line of this terrific piece. The original had it buried deep in the mix but all of the dynamics come out on this album. With the infectious piano soaring above it, I found even more things to love about this song and the whole disc.
Now if that is not enough the deluxe edition has a second CD of unreleased live cuts taken from concerts in Miami, Paris and Wembley. Unlike their Live In Paris disc, this is a band that sounds at ease on stage and did not try to just reproduce there studio sound live. Here they let it go and the results make me kick myself for never going to see them when I had the chance. Even though most of the material comes from Breakfast In America they still get in some old favorites like "Give A Little Bit" and "Rudy" along with a very fun version of "Another Man's Woman".
For a Supertramp fan this one is a no brainer. For those that know the hits and that is it, this is a great place to get acquainted with one of the most unique and dynamic bands in rock and roll. You not only get them at their commercial peak there is also a glimpse of what got them there with the live recordings. Since getting this one it keeps climbing back into the player and I am more than happy to let it reside there. Do not let this one get by you. It is a must have even for those that have the original.
April 4, 2013 Posted by Jerry | Supertramp Breakfast In America	| Supertramp | Leave a comment
From ultimate-guitar.com
To me this was always one of the most introverted albums about so much happening. Its one part catchy and one part thematic. It combined everything Supertramp had at that time and not only made them a good rock band but a very strong progressive rock band that defied everything people tried to label them.
Although they had very strong releases from previous albums, "Breakfast" would sadly prove to be the last for Supertramp within the turmoil band conflicts. However at the turn of the 1980's this would be a great opening soundtrack for a generation.
Lyrics and Singing: This is one the most self-reflectioned albums ever recorded. The songs were like mini movies and they come off not only strong lyrical wise but musically as well. Its dark and brooding but the opening "Gone Hollywood" showed a band disillusioned with corporations and the not so idyllic lifestyle of nomadic rock stars.
"The Logical Song" is one of the most memorable tracks off the album being written by Roger Hodgson. Its a everyday coming of age story for every young person. Its pretty deep about the loss of naivety and belief in a young person's life only to see the cruel reality. Ever the truth in such strong words. "Goodbye Stranger" is another one of those character studies you see in a movie but this time its a powerful song.
Davies seemed to rival his songwriting partner on this album and it really shows because I really dug into this album well. From what Hodgson says the title track "Breakfast in America" was written many years before the band even recorded. He said it went through many changes before the final attempt was recorded on here being in its masterpiece. Its full of hooks and catchy lyrics well worth the admission.
"Oh Darling" and "Casual Conversations" were more pop oriented ballads written by Davies and balances the album out nicely with the more introverted songs. Its nice to hear some lighter subjects and not always about the character in mind or what's in your head kinda songs. For me the personal favs were "Take The Long Way Home" and "Lord Is It Mine" both seem to echo about something deep inside of us. Its borderline spiritual and at the same time nothing more than a complex song about who we are and the need to search within ourselves for something, anything.
Sometimes I come home from work and throw this album on and skip to these 2 songs. I guess relating to the words and songs people write make others think about the simple things and life and the difficult things are what we hope are just a passing phase.
Anyhow back to the article, Rick Davies also rivals his partner again with his composition "Just Another Nervous Wreck". It seems almost self-biographical in it tells about the rise and fall (about to fall) of the band and Davies' friendship with Hodgson didn't seem to go well. Finally we get the closing track "Child Of Vision" and its part jazzy and part pop rock. Something about this final track alone makes you know that the band was coming to an end.
Its brooding and dark but at the same time offer a final glimpse of what the band was capable of. I like it but there's a lot to think about when something good comes to an end. I don't know why this album is almost forgotten but its an important reminder for most of us who still think and interact with other people. From what I see I don't think most people ever sit down and self-reflect or ponder about what life is about.
This is a great album by Supertramp and its also the last of the classic ones to feature Roger Hodgson before he left the band in 1983. The songs aren't as thematic as "Crime Of The Century" but they still hold their weight on some self reflecting lyrics. I'd say its on par with "Even In The Quietest" but more radio friendly and commercial than "Crisis What Crisis". I wouldn't change a thing about this album because the band worked hard to leave a substantial piece of work behind.
This is the one where you put the cassette tape in turn up loud on a bad day stare at the sky at night.
Supertramp Crisis? What Crisis? (1975)
From starling.rinet.ru
The previous album made the band a little bigger; this album, however, made them rather small again. It is indeed a little weaker, sounding like all these notorious 'weak' follow-ups to classic albums; adding nothing to the by now firmly established Supertramp style, it still has its share of nice songs, but much too often the guys are just coasting and toasting, stuck in their jazzy grooves and not really understanding where to head next.
The album's title comes out as thoroughly deceptive, then – the band obviously has a crisis, no matter how they attempt to conceal it. That said, the amazing 'mediocre consistency' (or 'consistent mediocrity') of Supertramp shows through even here, and I have no problem at all listening to the poor piece o' plastic (that was a metaphor, of course – I can't find a poetic way to describe a bunch of MP3 files yet). I do have problems trying to memorize it, though.
Of course, if only the album could live up to its opener – the delicious McCartnyesque acoustic popper 'Easy Does It', bouncy and cozy and catchy beyond words, I would be significantly happier and better disposed. But that's actually the catchiest moment on the album, although both Hodgson and Rick Davies have some more moments of relative triumph as well.
The former contributes the near-hysterical, jerky acoustic rocker 'Sister Moonshine' that's a gas to try to sing along to (you'll end up looking like a paranoid idiot in most cases) and the moving ballad 'Two Of Us' that goes much deeper than the Beatles song of the same name, even if it certainly loses in the instant memorability department. Hodgson really shines on the song – his voice may be whiny, but at least he modulates it on the spur of the moment and never ends up sounding like a robot (like somebody else I know).
On the other hand, Rick Davies goes for a rougher sound on the bombastic 'Ain't Nobody But Me', partially based on the same moderate, relaxated jazzy pattern as 'Forever' off Indelibly Stamped, but incorporating more different sections.
The way the song goes from the mean-sounding verses to the optimistic, 'thoughtful' refrain makes it really stand out. And finally, I'm a sucker for 'Just A Normal Day'; while the number hardly has any distinct traces of melody, the very idea of a 'philosophic dialogue' between Davies and Hodgson, with Davies representing the 'seeker' side of the individual and Hodgson representing the 'melancholic scepticist' side, is carried out brilliantly. Could you imagine a 'philosophic dialogue' between, say, John Lennon and Paul McCartney? The closest thing I can recall is 'I've Got A Feeling'… (!!!!).
Everything else strikes me as being sordidly underwritten, although it's really hard to tell – with a band like this, the overall impression can often depend on the most tiniest of hooks hidden deep in the background. Hodgson's piano melodies on 'Soapbox Opera' and 'Lady' are thin and don't do anything that stuff like 'Hide In Your Shell' or 'Dreamer' hasn't respectively done better on the previous album. And Davies writes convoluted, but pretty dull and pointless sagas like 'Another Man's Woman'.
I won't stoop to condemning the arguable silliness of the band chanting 'if you know what the meaning is, if you know what the meaning is' for what seems like ages on 'The Meaning', because I don't see the potential offensiveness here, but I gotta say, if this was considered 'cool' by the guys at the time, they must have really been at a loss.
Strange enough, 'losses' like these always resulted in the band's falling out of the picture for a while – their following album wouldn't come out until nearly three years later. Oh well, in any case these 'fallings out' are a more honest thing than just putting out more and more crap and gradually transforming oneself into a muzak writing machine. Thumbs up for creativity.
April 3, 2013 Posted by Jerry | Supertramp Crisis? What Crisis?	| Supertramp | Leave a comment
Supertramp Even In The Quietest Moments… (1977)
From prognaut.com
Supertramp's past was interesting, two albums of little note with a different band before they took a couple of years off to reform after picking up a crack rhythm section and a wind player/backup vocalist. They then met studio wonderkid Ken Scott and released their magnum opus Crime of the Century to worldwide and critical success. A slight hiccup on the followup Crisis? What Crisis? leads to 1977's Even In the Quietest Moments, another critical and even more commercial success.
It begins with Supertramp's first top 20 hit, "Give a Little Bit." This song has a great acoustic guitar hook and the high pitched vocal of Rodger Hodgson singing a catchy melody. I enjoy the method in which each Supertramp record alternate tracks between the two singers. The more baritone pitched Rick Davies sings the clever & fun "Lover Boy," the bluesy/breezy "Downstream," and the outstanding "From Now On." This song features inspired piano work as always from Davies and a jazzy saxaphone solo from John Anthony Helliwell.
Although the hits were usually by Hodgson, Davies voice and songwriting is still a highlight on every Supertramp album. Hodgson's voice on title track "Even In the Quietest Moments" is at its most fragile towards the beginning, but dynamically builds to show what range and power the man has.
The piece that is of most interest to us prog fans is the over ten minute epic, "Fool's Overture." It begins with a quiet piano backed with orchestral instruments and Hodgson's fragile and tender vocal. Then a pulsating synth line comes in like it skipped to another record, something by Tangerine Dream.
The segues sustaining these extra minutes are ably provided (as on the past two albums) by rhythm section Dougie Thomson and Bob C. Benberg. Hodgson comes in again with his fragile voicework bringing back that unmistakable Supertramp quality to insure that you are indeed on the right CD. It again breaks into a reprise of the electronica section while overlaying harmony vocals to bring it all to a glorious climax.
Even In the Quietest Moments is one of Supertramp's best works, right behind Crime of the Century and 1979's Breakfast In America. A great record from the more mainstream side of prog, it comes highly recommended from this reviewer.
March 24, 2013 Posted by Jerry | Supertramp Even In The Quietest Moments...	| Supertramp | Leave a comment
What? Oh, right! Breakfast In America! The album that broke the band big! The bucks! The fame! The endless airplay! Loads upon loads of hit singles! The record of the year! When all else fades, Breakfast In America still remains as the band's crowning, spectacular achievement which makes just about any other Supertramp album pale in comparison… oh yeah? Eat your three and a half stars, brutha!
Seriously now, I'm not being controversial or anything. This is a typical Supertramp album, nothing more, nothing less. I'd have to do some serious research work to try and understand what made the album so outstanding in people's eyes in 1979, when the previous records haven't enjoyed even half of that success. Maybe it's the Bee Gees comparison? Maybe it's the serious 'poppy', at times even 'disco' overtones? Or maybe – that's my most serious guess – it's the America backlash, or, rather, the mass culture backlash of this record that made it so attractive? Or maybe everything together. You could write a dissertation on the record and its social impact, I'm here to say a few words about the music, and the music is typical Supertramp, which means nice. N-I-C-E.
Granted, the first several songs on the album do qualify among the very best Supertramp ever did, even I would have to admit that the quality of the hooks out there is at least a cut above your usual expectations from Hodgson, Davies and Co. Not on the opening 'Gone Hollywood', mayhaps, the song that's mostly famous for introducing Roger's immaculate Bee Gees falsetto impersonation – how many Supertramp fans put on this record and rushed out for valium in a matter of seconds, afraid that their favourite band has sacrificed itself to the Mammona of disco? But it turns out that the impersonation has more of a parodic nature to it than anything else – after all, the song is about the perils and disillusionment of stardom (not that the Bee Gees sang that much about the pleasures of stardom, mind you, but most Bee Gees bashers usually miss out on the lyrics of 'Stayin' Alive', for instance). And as the first falsetto notes fade away, you get a slightly poppified, but still intelligently written piano-and-sax based rumination.
But the next three songs, all of 'em amazing, annihilate the effect of 'Gone Hollywood'. 'The Logical Song' is arguably Hodgson's stellar hour – a simple, relatively unpretentious, bitter reflection on the soulless rationalisation and cynicism of the modern world, with Hodgson's melancholic, pitiful tone perfectly suiting the lyrics; the vocal melody is sheer genius, and the way Roger contrasts his epithets ('all the birds in the trees they'd be singing so happily… joyfully… playfully…' 'but then… they showed me a world where I could be so dependable… clinical… intellectual… cynical…') is magic, plus the wailing sax makes a wonderful counterpoint all the time. Then there's Rick's stellar hour – the somewhat conceptually unrelated, but uplifting and honestly romantic 'Goodbye Stranger'; a simple piano melody, a simple soulful delivery, an intelligent crescendo throughout the song, a raising chorus, catchiness all around. And finally, Hodgson closes the trio of absolute winners with the title track, which manages to pack a whole wallop of cynicism and bitterness into a superficially lightweight and almost joyful danceable tune. 'Take a look at my girlfriend, she's the only one I got, not much of a girlfriend, never seem to get a lot' – doesn't that remind you of the Sparks or something? Except that unlike the Mael brothers, Hodgson's being dang serious about his emotions. And a bare two minutes and thirty seconds! I want some more of that.
I can't say the other songs match this holy trinity in quality, though. They're all decent, just not as concentrated – see, in 'Logical Song' and 'Breakfast In America' Hodgson really comes up with unparalleled lyrically-musical ideas, but Davies doesn't seem to be equally inventive, and decent balladry like 'Oh Darling' and decent 'I'm-not-like-everybody-else' introspective stuff like 'Just Another Nervous Wreck' don't have any of these inhuman elements that'd justify their eternal gilding. They are well-placed in the context of the album and all, but lasting impression? Hmm… need to be more inventive.
Roger, too, overreaches in 'Lord Is It Mine' – there's only so much whining I can take, and minimalistic piano ballads should better be left to Elton John. So, in fact, the only other song that reinstates my good faith is the closing epic 'Child Of Vision', which manages to somehow collect all of the bitter sarcastic energy off the previous songs and painlessly stuff it onto this seven-minute behemoth, with Hodgson's angry anti-mass-culture lyrics, delivered in a flaming tone, perfectly matching the paranoid bassline – but the funny thing is, the best thing about the song aren't the lyrics, it's the amazingly effective piano solo which is now in danger of becoming one of my all-time favourite piano solos. Who the hell is playing there? Rick? Roger himself? Aw, who cares? That's just a perfect example of how a solo musical instrument is able to take on all the emotions and passion of a vocal melody and carry it on and develop it in a way that a human voice could never do. Mm, great, delicious, an ideal conclusion to an album…
…which still gets its deserved three and a half stars for sagging too much in the middle. Four great songs, six decent-to-good ones, you know the score. The good news is that from what I've seen around, history has been just to the record – it no longer polarizes audiences as it could have done in 1979 (with some people mistakenly taking it as belonging in the same vile decadent Bee Gees/Boney M heap of shit preventing people from enjoying punk rock, and some extolling it as the greatest piece of music ever created), rather it just produces mixed emotions like any "good, not great" album would. And that warms my heart.
March 23, 2013 Posted by Jerry | Supertramp Breakfast In America	| Supertramp | Leave a comment


text:
#ifndef IMAGE_DENOISING_H
#define IMAGE_DENOISING_H

typedef unsigned int TColor;

////////////////////////////////////////////////////////////////////////////////
// Filter configuration
////////////////////////////////////////////////////////////////////////////////
#define KNN_WINDOW_RADIUS   3
#define NLM_WINDOW_RADIUS   3
#define NLM_BLOCK_RADIUS    3
#define KNN_WINDOW_AREA     ( (2 * KNN_WINDOW_RADIUS + 1) * (2 * KNN_WINDOW_RADIUS + 1) )
#define NLM_WINDOW_AREA     ( (2 * NLM_WINDOW_RADIUS + 1) * (2 * NLM_WINDOW_RADIUS + 1) )
#define INV_KNN_WINDOW_AREA ( 1.0f / (float)KNN_WINDOW_AREA )
#define INV_NLM_WINDOW_AREA ( 1.0f / (float)NLM_WINDOW_AREA )

#define KNN_WEIGHT_THRESHOLD    0.02f
#define KNN_LERP_THRESHOLD      0.79f
#define NLM_WEIGHT_THRESHOLD    0.10f
#define NLM_LERP_THRESHOLD      0.10f

#define BLOCKDIM_X 8
#define BLOCKDIM_Y 8

#ifndef MAX
#define MAX(a,b) ((a < b) ? b : a)
#endif
#ifndef MIN
#define MIN(a,b) ((a < b) ? a : b)
#endif

// functions to load images
extern "C" void LoadBMPFile(uchar4 **dst, int *width, int *height, const char *name);

// CUDA wrapper functions for allocation/freeing texture arrays
extern "C" cudaError_t CUDA_Bind2TextureArray();
extern "C" cudaError_t CUDA_UnbindTexture();
extern "C" cudaError_t CUDA_MallocArray(uchar4 **h_Src, int imageW, int imageH);
extern "C" cudaError_t CUDA_FreeArray();

// CUDA kernel functions
extern "C" void cuda_Copy(TColor *d_dst, int imageW, int imageH);
extern "C" void cuda_KNN(TColor *d_dst, int imageW, int imageH, float Noise, float lerpC);
extern "C" void cuda_KNNdiag(TColor *d_dst, int imageW, int imageH, float Noise, float lerpC);
extern "C" void cuda_NLM(TColor *d_dst, int imageW, int imageH, float Noise, float lerpC);
extern "C" void cuda_NLMdiag(TColor *d_dst, int imageW, int imageH, float Noise, float lerpC);

extern "C" void cuda_NLM2(TColor *d_dst, int imageW, int imageH, float Noise, float LerpC);
extern "C" void cuda_NLM2diag(TColor *d_dst, int imageW, int imageH, float Noise, float LerpC);

#endif

redpajama_set_name: RedPajamaGithub


In the last few years, many people have discovered the benefits of installing a home theater in their home.These systems are designed using some of the highest standards in the industry and are highly prized by people that know a great deal about entertainment products.A home theater can be found in a wide variety of unique styles and can be purchased to match the décor of your home.
Many individuals that would like to buy a home theater for their home are often unaware of the places where they could easily acquire a home theater with a minimum of hassle.Knowing where to look for the systems can make your search for the system a lot shorter while still allowing you to take your time and decide which home theater system is the best one for your needs.There are a couple different places available to look at the different system designs and buy the one of your choosing.
There are numerous internet websites where a person can find home theater products for sale.Some of these websites focus on systems and entertainment items only while other websites are versions of internet mass merchandisers and will have numerous different items for sale, including theater systems in the electronics section of their online store.It is not that uncommon for a website to have a very limited selection of home theater products, although some online retailers will have a surprising number of these products displayed on their website.
Shopping for home theater products on an internet website is the most preferred method of shopping for some people because it allows them to view a large number of products in a short amount of time from the comfort of their own home. The home theater products that are found on the internet are typically purchased from the website and shipped to the home, but in some cases the person purchasing the system can order the products online and then go to the store's physical location to pick up the system that they have chosen if there is a store closely located to the person's home.
There are a number of different retail stores that will carry a selection of home theater products for the customers that come into their store to review. Some retail stores will only have a limited selection of the items, but some stores that focus exclusively on entertainment products will often have a more extensive selection for their customers to choose from.For most retail stores, you can pick out the system that you like the best and take it home with you straight away after you have paid for it. If the home theater products that you prefer are too large to fit in your vehicle, you can elect to have the home theater delivered to your home by truck at a later date.


text:
Home > Car Clinic > Letters
Published 31 October 2016
Reader Letters: Mobile distractions, lucky colours and ageist insurers
Double jeopardy
Roger Grosvenor asked why it was permissible to drive a tourist coach while holding a mike but not to use a mobile in a car ("Letting go", Letters, October 16). A mobile is a duplex device, allowing two-way communication, which requires a lot of mental agility and poses a hazard during driving. A push-to-talk system permits you to talk or listen but not at the same time, so it is less distracting.
Mike Dunstan, Woodley, Berkshire
Jo Cox doesn't understand why spraying her car green increased the insurance premium ("Off colour", Letters, October 16). I have had two green cars, both of which were soon covered in dents. People told me green was an unlucky colour, so I had one sprayed black. It stayed damage-free.
Mike Kenney, London NW1
Browse NEW or USED cars for sale on driving.co.uk
I am 83, and I have a seven-year-old Ford Fiesta and a clean driving licence. I am accustomed to my premium rising by £20 a year but this time it went up by £160. When I queried the price, I was told it was the best quote the broker could get, because of my age. The opinion seems to be that when I get in my car I am an accident looking for a place to happen.
Fortunately a friend suggested LV — Liverpool Victoria — from which I got a quote £20 less than I paid last year.
Jill Basten, Headley Down, Hampshire
Email letters for publication to driving@sunday-times.co.uk, including your name, address and phone number. Letters may be edited.
Ageism
Reader Letters
10 electric cars with 248 miles or more range
Electric cars that can go at least 200 miles per charge are becoming the norm rather than the exception. Here's the current top 10 for range.
Buying Guide: best new cars with 0% finance deals
Buying a car on finance is an appealing proposition. You don't have to save up to afford a car, or spend what savings you may already have, leavi


After a near death experience at the end of 2010, Judith Kindler began to reflect on her life. Specifically, the many homes that she has lived in and varied experiences that have formed chapters in her life, each unique. This prompted the artist to create an autobiographical major installation that places 16 Santos-like sculptural heads within 16 houses. Each house has a shelf upon which is placed a hand made book written by the artist with excerpts of her life. Zipcodes title each book and appear on the sculptures along with drawings on the heads referencing the illustrations in the books..
Beyond this cathartic signature work, Kindler proceeded to create two dimensional mixed media works all self referencial in content. The idea that when we go home after a hard day or a trip, for example, the feeling of having ones objects around and the comfort of one's own bed provide a tremendous sense of wellbeing and sanctuary. Some of the works look even further at the mind as our ultimate home.


We are honored to have so many physicians and partners dedicated to patient-centered service. The Kansas City Medical Society presents awards for leadership, lifelong commitment to health and dedication to the health of the greater Kansas City community.
Dr. George Stamos is a founding partner of Quivira Internal Medicine and former Chief Medical Officer at Overland Park Regional Medical Center. He has dedicated time and talent to the health and welfare of residents of Kansas City. He was awarded the Lifetime Achievement Award at the Kansas City Medical Society Annual Meeting.
To learn more about Dr. Stamos, please view his award video!


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No Trespassing: Immobility for Undocumented Youth in the South
by Abby Parcell | Feb 17, 2015 | Blog
Twenty-five high school graduation ceremonies in 17 days. That was the schedule for Charlotte Mecklenburg Schools (CMS) Deputy Superintendent Ann Clark when we spoke last June during our State of the South road trip. That's a lot of caps and gowns, a lot of inspirational aphorisms, and a lot of valedictorians, salutatorians, and top academic performers to meet and recognize. Like Charlotte's population growth, many of those high performing students are also Hispanic. And many are undocumented; they arrived in North Carolina as young children and, as Clark noted, represent the success of CMS pre-K and ESL programs. Indeed, the graduation of these students reflects a national trend: the recent decrease in the high school dropout rate has been driven by Hispanic students. Nine times as many finish as drop out, even as the proportion of students who are Hispanic has risen. (Note: the dropout rate for this group of students is still higher than that of other racial or ethnic groups, but it's also dropping faster.) But for undocumented students, progress becomes much more difficult after high school, even with a stellar academic record.
A recent report from the Center for American Progress (CAP) details the challenges facing these students and some options for building the necessary infrastructure of opportunity to help them reach their potential. CAP estimates that approximately 65,000 undocumented students graduate from American high schools each year; these successes are related to Federal policy that secures K-12 education access regardless of immigration status, but these policies do not extend to higher education. This leads to legal, social, and economic challenges for young people who aspire to continue their education; they face barriers to identifying education options, enrolling, and paying tuition.
So Much More than Reinvestment in Charlotte
by Abby Parcell | Sep 3, 2014 | Blog
On the Charlotte, N.C., leg of our 2014 State of the South road trip, we met with local leaders from the nonprofit, business, and education sectors. One of those was Ron Carter, president of Johnson C. Smith University (JCSU). Johnson C. Smith, an HBCU founded in 1867, is located in Charlotte's Northwest corridor, a collection of historic neighborhoods outside of the city center that are being revitalized. President Carter is leading reinvestment efforts in this part of the city, making investments in physical infrastructure and building relationships with new communities within the corridor. These efforts highlight the link between place and opportunity, because, as President Carter sees it, "If we don't have corridor development, we won't get to city development or state development."
Since his arrival in 2008, Carter has been working with community members and public/private developers to construct and restore buildings, attract community wellness assets, and advocate for east-west transportation connections to the rest of the city. Charlotte's Northwest corridor is a major transportation route from uptown Charlotte and gateway to 37 neighborhoods in the historic West End. The Northwest Corridor Revitalization Initiative began with the Soul of the Northwest Corridor survey (launched in 2010) to solicit residents' opinions about their community and local economic growth. Follow-up studies informed other community engagement efforts, like the Indaba held on the JCSU campus. (Indaba is a community forum common in African tribes.) At these gatherings, participants review annual community action items and plan community enhancements. (The 2013 Indaba focused on increasing the effectiveness, influence, and representation of political leadership of the Northwest Corridor). Some of the enhancements already in place include a visual and performing arts teaching facility and theater (in a renovated tire company building); a mixed-use development with student housing, public parking, retail, and commercial space; community gardens; a health and wellness facility, and public art installations. The initiative is strengthening economic and social connections for young people and their families.
A bus stop in the Northwest Corridor captures the vibrancy of the neighborhood, its history, and the revitalization going on there. Photo courtesy Johnson C. Smith University.
Johnson C. Smith also is working to build connections in communities outside the typical realm of an HBCU. In 2011 they became part of the Latin American Coalition's College Access Para Todos program. JCSU began actively recruiting qualified Latino students from the Charlotte-Mecklenburg School System and admitted 81Latino students for the 2011-2012 school year. (The university also sponsored English as a Second Language classes for parents and grandparents.) In 2014, a group of JCSU students established a Latino fraternity—one of the first on an HBCU campus. Many of these students grew up in Charlotte and are undocumented, meaning they are ineligible for in-state tuition and federal financial aid, even when they are accepted into the state's public university or community college system. Enrollment and financial support at JCSU allow them to continue their education and contribute to the community and economy in new ways. Writing about the program in a 2012 Charlotte Viewpoint, President Carter said, "But it is not just the students whose lives have been enriched by their presence on campus. With their differing legacies, history, and culture, they bring to the Smith campus a diversity that gives gravitas to the university's vision of excellence in global education."
These efforts to direct resources to areas of highest need—recapturing productivity and reaching across communities—are a great example of the physical and social relationships that are required to support an infrastructure of opportunity for young people in the South.
Ed. Note: This post originally appeared on MDC's blog, The North Star.