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Review: HAWKEYE #7
"Hawkeye #7 demonstrates once again that the creative team has a keen grasp of who their characters are and where they want those characters to move narratively, while never forgetting to keep a balance of propelling action and character development."
Hawkeye #7
Writer: Kelly Thompson
Artists: Leonardo Romero (pencils), Jordie Bellaire (colors)
Release Date: Wed, June 7, 2017
Caution: Mild spoilers ahead.
Part of the conceit of Marvel's Hawkeye earlier this year is that Kate Bishop, former Young Avenger, part-time Hawkeye, and full-time do-gooder, traveled to LA to set up a private eye agency in part to hunt down her missing father. Writer Kelly Thompson, artist Leonardo Romero, and colorist Jodie Bellaire turn to that story thread—and Kate's past as a whole—with earnest in Hawkeye #7, on sale now.
After some ne'er-do-wells jumped Kate in her P.I. office at the end of last issue, this chapter opens with her at her desk, opening a box the men left behind. The contents have a direct connection to Kate's past: a necklace her mother wore that symbolized the bond between Kate, her sister, and her mother. Also left behind is a note with an address to a high-rise office building, taunting Kate to come "chat," signed M.M. Kate assumes that the author is the villainous Madame Masque, who she's had unfortunate encounters with on an occasion or two. However, after tussling with some muscle on her way to her quarry's office, she receives a bit of a shock.
In between the narrative lines, we get a glimpse into Kate's past, including her relationship with her mom and why their closeness was frayed due to the machinations of her father. There's a melancholy that hangs over the bright scenes of the past—even when enjoying some pool time with her mother—that provides a nice juxtaposition and piece of foreshadowing of what's to come.
That narrative nimbleness is just one way that Thompson produces her best issue yet of Hawkeye, which is saying something. What is so refreshing about her approach to the issue is that, while she's clearly intent on building suspense to the book, she's not dragging the story out to create drama for drama's sake. For the past decade+, there's been a move toward story decompression, drawing out a story into five issues that feasibly feels at times like it could be done in three. And while there are places where that type of storytelling fits, it can test the patience of readers when not done judiciously.
That's not to say that writers should let readers steer the ship. There's a balance that can be achieved, drawing on the strengths of multiple types of storytelling to produce a suspenseful tale, full of character development, and chock-full of action—which is what we get in issue #7. For instance, Thompson lets Kate still be her jokey self, but it's noticeably muted, given the gravity of the situation in which she finds herself, as shown in her interactions with Detective Rivera at the police station. And while Kate applies her superheroics to her investigation of the necklace, the flashbacks focusing on her askew family dynamics stress the real stakes Kate has in what might be her ultimate case.
Thus far, while there have been several tense, action-packed moments in Hawkeye, there haven't been instances that haven't descended to downright stomach-churning until this issue, chiefly stemming from scenes featuring Kate's dad. Romero's linework is often conservative, choosing to use a minimal amount of marks to achieve the composition of a particular scene, and no one where does it work so well as the introduction of Mr. Bishop in the summer camp office. With just a couple of lines, Romero produces a menace about the man that is eerie, with a slight smile and furrowed brows that convey a sinister agenda lurking behind an "everything is fine, see?" countenance. I've seen that face before and it's just as unnerving on the page as it is in the flesh-and-blood world.
But it's not all unrest and ill-omens. When talking about the issue, that fight scene in the high rise has to be addressed. I don't know what the back-and-forth was like with Thompson and Romero in creating the composition of the melee between Kate and a few dozen hired goons, but the effect is a PG-13 version of the Crazy 88 throwdown at the end of Kill Bill Vol. 1—and that is meant in the most flattering way possible. Watching her handily dispatch the men trying to impede her way is just a joy to behold, and Romero sticks the landing of the page layouts beautifully. If this issue is about confronting our demons and gatekeepers stymieing that confrontation, then be-suited muscle, given Kate's background, seems pert near perfect as the final test before the Big Bad(?) we meet at the issue's end. Taking into account Thompson's hints that men in three pieces have been constant thorns in her side for years, it makes narrative sense that they would factor in symbolically and not-so-symbolically here. Thompson and Romero put Kate to task to just through hoops and off ledges yet one more time and it's a thing to behold as she tics each off with ease.
Once again, Bellaire's color palette pairs beautifully with Romero's art, dancing between the tones and the moods that Thompson is building with her tale. She has a talent of when to know when to employ lighter tones to a scene and when to pull back on those same bright colors when the nature of the narrative is darkening. Case in point: During the flashback scene from summer camp, Kate's outline immediately darkens when she's told her mom has showed up to see her. Not only does this demonstrate Bellaire's handle on how color moves narration, but those instincts pair beautifully with Romero's linework, like an ice skating pair in tandem.
Hawkeye #7, written by Kelly Thompson with Leonardo Romero on art and Jordie Bellaire on colors, is on sale now from Marvel Comics.
From the official issue description:
Hawkeye finally gets a lead on the top-secret case that brought her out to Los Angeles in the first place — and it might be more than she bargained for…In order to solve this mystery, Kate will have to take a good hard look and who she is and where she came from. But is she really ready to face the ghosts of her past?
10Overall Score
Reader Rating: (0 Votes)
HawkeyeJordie BellaireKate BishopKelly ThompsonLeonardo RomeroMarvelMarvel Comics
Jed W. Keith is managing editor for FreakSugar and has been a writer with the site since its start in 2014. He's a pop culture writer, social media coordinator, PR writer, and technical and educational writer for a variety of companies and organizations. Currently, Jed writes for FreakSugar, coordinates social media for Rocketship Entertainment and GT Races, and writes press copy and pop culture articles for a variety of companies and outlets. His work was featured in the 2018 San Diego Comic-Con convention book for his interview with comic creator Mike Mignola about the 25th anniversary of the first appearance of Hellboy. He also serves as Head Ref for Somer City Roller Derby, the women's roller derby league in his hometown in Kentucky, and contributes writing to various local organizations. Jed also does his best to educate the next generation of pop culture enthusiasts, teaching social studies classes--including History Through Film--to high school students.
Exclusive Preview: SUPERIOR SPIDER-MAN #2
[Press Release] AVENGERS NOW! Brings Epic Stories & Seismic Changes to the Marvel Universe!
FreakSugar Team
Josh Brolin Brings the Kickassery as Cable in DEADPOOL 2
"Avengers by Way of TED LASSO": Jim Zub on the New THUNDERBOLTS


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Avalanche Vs. Coyotes: Ryan O'Reilly Returns
By Muzia@MMuzia Feb 7, 2011, 3:23pm MST
Share All sharing options for: Avalanche Vs. Coyotes: Ryan O'Reilly Returns
After losing two straight games since the All-Star Break, the Colorado Avalanche hope to get on the right track in Arizona as they face the Phoenix Coyotes for the third time in the past month. Phoenix has won the previous two meetings by a combined score of 7-2 -- though their 5-2 victory over Colorado was not your average game.
Colorado has good news, as forward Ryan O'Reilly will return to game action much sooner than anticipated. O'Reilly has missed seven games since injuring his shoulder on January 14 against the Minnesota Wild. His presence should give the Avalanche a much needed presence on the penalty kill, and help stabilize a third line that has been in flux the past two weeks.
The recently signed Peter Forsberg will not play tonight due to immigration issues, but will make his debut in an Avalanche sweater later on this four game road trip.
Phoenix has played themselves into playoff position (along with every other team in the Pacific Division) though they are 2-4 in their past six games and have not had their usual brilliant goaltending from Ilya Bryzgalov. Much like the Avalanche, their offense has struggled to remain consistent. With the traditionally slow style that Phoenix craves, it could be a sluggish game on both sides.
Craig Anderson will start in net for Colorado. Ilya Bryzgalov is the likely starter for Phoenix.
Puck drops at 7:30 pm MST.
Avalanche Vs. Coyotes Final Score: Phoenix's 3-0 Victory Sends Colorado To Fourth Straight Loss
Avalanche Vs. Coyotes Final Score: Phoenix Hands Colorado Sixth Loss In Seven Games

redpajama_set_name: RedPajamaCommonCrawl


I made the Lorelle jersey up for me (size small) and it is a lovely jumper. My son Gus admired it and asked for one for himself, but without the zig zags. I said I would think about it and have a try. It will be the first item in our joint Sewing with a Plan 2017.
Regular readers know I am an almost complete beginner when it comes to knitting. In fact the Lorelle was my first garment ever. Since then I have managed a striped T shirt and a ski jersey. So for project four I will be knitting this jumper, but adapting it for Gus. I am thinking of this project with a mixture of excitement (creating something off piste, yay!) and making something to fit a man (very different shape to me), but also thinking I have done this once before so it is bound to be easier. And then Stephanie's very clear advice (I know advice that comes from experience) that men are considerably bigger than women and making up the fabric is the key part of knitting, so there will just be many more hours involved in actually knitting.
I promise I am not laughing. 🙂 It is very fetching!
But in all honesty, it shouldn't be too difficult.
I think you would have to add some rounds in the body before joining the sleeves on, but that is just working a few more rounds to add extra length. Easy.
Then I would probably also add a few extra rounds in the yoke. Where you are working the zig zag in the pattern you are working straight without shaping, so I would probably work this part just straight, changing over from reverse to normal stocking stitch when you feel it is right. Then maybe adding a few more rows evenly over the next few decreases. But it is hard to say just how many. What I would recommend, to make it easier to go back should things go wrong, is to insert a lifeline at a suitable point. It basically means to add a contrast colour thread through your stitches at a point where you would want to unravel to to make it easier to pick the stitches back up again.
I hope this was some helpful advice and good luck!
A lifeline! I had never heard of that before and it is good advice. I didn't actually do it as I felt fairly confident this time, but it is a great tip.
I meant to buy the wool from Purl Alpaca, but they have slightly changed the recipe of the light grey to include a bit of rusty red, just a little bit. It is a great colour but I wanted a definitely cool grey so I looked elsewhere. I bought a Peruvian product, King Cole DK consequently somewhat cheaper than the UK Purl Alpaca, but a very similar shade to my original. If anything very slightly deeper, and very slightly bluer. And theoretically a slightly thinner yarn.
I made up the Large size (for bust 39 – Gus is chest 38). Maybe I could have started with the Medium and then moved to large at the underarm stage, but I thought a tubular shape would be best. I like my sweaters to be a bit big and I hope Gus does too. But the extra few inches, compared to my 34″ bust version, really took so much time. And I felt there was an acre of knitting fabric in my lap. But when I measured it, and held it up against Gus it looked about the right size. I think this whole thing of making for Gus shows me that I rely so much, in making clothes for myself, on my instinctive understanding of my own body. I have an internal, "the body in the mind", view of myself that is (at least in terms of dimensions!) fairly close to reality. Without this guide for Gus I am in danger of making up his wardrobe in a way that is actually too small for him, and closer to my size. Which would be a bad move!
Apart from that I did what Kari-Helene suggested. I measured Gus's torso (48cms hem to underarm) and added an extra 5cm to the length. And then, once I had joined the sleeves, I added another couple of inches in the yoke. I only have to sew it up now, so I will show you how it looks on Saturday.
In the meantime I would like some help. I want my second jersey for Gus to be designed for a man, and I want it to have a polo neck and set in sleeves. Ideally I think a ribbed pattern, or some subtle cabling. I went to Ravelry and search adult men's patterns. Honestly! I had been warned by Stephanie and my friend Bridget that there are some truly awful stuff on there (as well as marvellous knitting, I admit). There were about 400 pictures. At least 100 were Scando knits with a bulky, boxy shape. 100 were of real husbands and sons and they looked like the male equivalent of "Readers Wives" – often weedy or portly, looking rather unhappy in their home knits. And the rest were either embarrassingly retro or completely dull. There were only two that I "favorited" – both out of print. Any ideas for a trendy parsnip shaped young man with a long neck?
Have you looked at Patternfish. It just sells patterns from a huge range of companies and designers. You might have the same problem but it could be worth a try.
Kate, I have a gift for you that I thought you might like and there may be just what you need in there. I found 4 vintage Patons pattern booklets in an op shop which are all men's patterns and immediately thought of you. So hang fire!
Oh sweet Sue, what a kind person you are. I am sure you will have the perfect jumper!
Woah you are quick! Looking forward to seeing Gus in his "Lore." I would think that Rowan would have a decent polo neck jumper of that description, but it sounds as though Sue has some things for you. Check out some of Jared Flood of Brooklyn Tweed's designs for men. You could always add a stitch pattern you like to a basic polo neck. It doesn't sound like a difficult project for someone adventurous like you.
Just scanned Brooklyn Tweed on my phone and the Vika pullover by Véronik Avery is quite nice. Not quite the sleeves you are after and more cabling but something to look at for ideas.
I love this sweater and that it is good for men, women and kids too. I am not sure Gus wants that much cabling, but I will ask him. Thanks so much for helping me out S.
Thanks Kate. I am tempted to make the Vika for myself and also for G!!
ravelry is great resource to look up patterns for men and women, and see what other have done in diff weights and yarns and as many of the makers are men you also get to see some of their makes…….I know i have knit and crochet software which will work out stitches which could have been useful for converting……. (link is here although it seems to be discontinued….useful inexpensive programe…..http://www.knitware.uk.com/).
though you'll have to purchase a book, which can be done, for little,used though Amazon.
Both Henley's I've found are written for thicker yarn than you've bought but should be able to work if you work a larger size. Come back and we can help you out with that.
How on earth do you knit so fast? Please share the secret. It would take me a few hours to knit a man's jumper on a knitting machine, by hand – think weeks. I learnt about the lifeline trick just a few months ago, then forgot it.Thanks for the reminder.
Lovely to be mentioned. I have fiddled with a fitted woman's pattern to make the a matching jumper as part of a wedding present (this was a request from the bride, I am not a great believer in his and hers but apparently it is very trendy now). It was easier for me as the bit we wanted to keep was the yoke, so I was changing the body. I think the thing you need to work out is what does Gus like about it – the texture, the hang, or the shape. I found a man's pattern that used the same size needles and gauge of wool, and then increased the yoke to fit. I think I then cobbled it making the shoulders by decreasing much more rapidly, and based on a man's pattern with a yoke – I seem to remember that it needed a couple of tries, but I often have to undo and reknit). I will ask the very classy wife if it has worked – she is a colleague and not in today, so will report back. The most important thing I think in fiddling with patterns is to keep to the needle size and wool – I am very impressed with your work rate. Three jumpers in almost as many weeks.
Lovely pattern of vintage ,can't wait to buy sweater like this.
Or http://www.ravelry.com/patterns/library/guston – It would be easy enough to knit this as a crew neck leaving out the split for the button placket.
A lot of what will make it current is the fit, and you control that as you knit. So pick your elements and then look for a pattern – set in sleeve, crew neck, some rib or twist. A lot of the pics you see on Ravelry are men in loosely fitting sweaters as that is what their middle age bodies and sensibilities want, Whereas I think the younger guys want a closer fit.
I join in with everyone here amazed by your knitting commitment. Not only you are getting more and more advanced with patterns/colours/variations, but you are incredibly fast! I've started a scarf in September and it seems forever before it's gonna be finished (admittedly scarves are boring work after a while).
Very well done! I'm also resisting the temptation to get myself the Lorelle pattern now, you're better than advertising!
I agree that vintage patterns are the ones that will give the fit better suited to young men. My sons are very particular about fit and style and I have found the mens patterns from Lang to be excellent and easy to modify to get the fit they like. you may end up knitting a "dud" before you have perfect success but at least your son does not live thousands of miles away. And then of course remember to rip, rip and rip again until you have the perfect fit. Best of luck.
Another vote for Brooklyn Tweed.
Also, I made the Hedge Fence pullover (http://www.ravelry.com/patterns/library/hedge-fence-pullover) for my brother and St Brigid (http://www.ravelry.com/patterns/library/st-brigid) for my husband, and both quite handsome.
St Brigid definitely complex but Hedge Fence was pretty straightforward and looked handsome on. If you made it slim fitting I bet it would be terrific.
First, my disclaimer that I have only knit pullovers for females. Second, suggest Jared Flood -guessing the typical fit of his popular Cobblestone isn't what you are looking for – you want something trimmer for Gus. But you can do increases if knitting bottom up or do decreases if knitting top down to get a trimmer fit in the body to follow the V shape of a "turnip". y You know his measurements and need to figure out how much ease he wantsllikes in a pullover at key locations- guessing waist and chest.
A little searching online produced the result that a polo-neck is what we in North America call a turtle-neck. (I originally thought a polo-neck is a sweater that has a neck like a polo shirt and I thought Ann Budd's Guston sweater would be suitable.) The Chicane pattern by Cookie A (in Brooklyn Tweed 2012) is a good choice for a cardigan but there really aren't too many modern, slim, pullover turtleneck sweaters with set-in sleeves.
Ah! Now I understand. The Guston is nice but not what we call a polo. Turtle neck here would be lower I think. And yes there aren't many slim modern turtlenecks that have anything other than a raglan. The first sweater I have almost finished is a yoke sweater which has raglan type sleeves, so I really want set in this time. Thanks so much for your help Zeddie.
I don't know if this is to your taste (or to Gus's) but this vintage pattern has cables, is a polo neck, has set in sleeves, and is slim(ish) https://www.etsy.com/listing/207990787/mens-knitting-pattern-mens-cable-polo. Personally, I think it would look better with three cables not two (as they kind of look like suspenders) or without cables, and the model's awkward pose and side-eye gaze do not help present the sweater well.
Thanks so much Zeddie. I actually like this sweater with its "suspenders" – what we call "braces". Suspenders hold up ladies stockings. And the thing some kids have on their teeth are called braces too.
American designer Jared Flood (pdf downloads on Ravelry) has great men's jumpers and a good slim fit. They are plain, but with subtle details, which make great design features. I knit an aran weight one for my husband last year and would like to do a 4 ply one some time, but there is just so much knitting in a 4-ply for a man.
Thanks for the tips Verona. I know what you mean about four ply for a man. I couldn't believe how much time those extra inches took (and how boring they were – like fillers).


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Daniel Hoch (born 1979) is a Swedish footballer.

Daniel Hoch or Danny Hoch may also refer to:

Danny Hoch (born 1970), American actor
Daniel K. Hoch (1866–1960), U.S. Representative from Pennsylvania

redpajama_set_name: RedPajamaWikipedia


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"I Walk the Streets of One"Paul Walker's 23-Year-Old Girlfriend Shares Heartbreaking Facebook Post As Her Father Reveals She's in Grief Counseling
Updated: Apr 22, 2014 12:48 pm·
By Chantal Waldholz
Losing a loved one is never easy, and for Paul Walker's longtime girlfriend, Jasmine Pilchard Gosnell, life has been incredibly hard since she said goodbye to the actor.
"I walk the streets of one," the 23-year-old was quoted in a Facebook post recently, along with a photo of the somber young woman as she took her dog for a walk.
Now her father reveals in an exclusive interview she's in therapy to cope with the 40-year-old's tragic death.
"I have her in grief counseling," said Casey Gosnell, 47. "You have to understand that she is still terribly wounded by Paul's death and will be for a long time."
The blonde has yet to publicly talk about Paul's death from a car accident in Santa Clarita, Calif., last November.
On her Facebook page, it reads, "Every day, in some small way, memories of you come our way. Though absent, you are ever near, still missed, still I will always love you. Rest in peace love."
Paul Walker's Daughter, Meadow, Shares Touching Facebook Photo With Her Late Dad
"Maybe one day she'll be ready to talk about Paul, but she's not there yet," her father added.
Jasmine remains close with Paul's brothers, Cody and Caleb Walker [pictured below], who are currently filming the seventh installment of the Fast & Furious franchise. As reported, they have signed on to shoot the unfinished scenes featuring Paul's character, Brian O'Connor.
Paul Walker's Brothers to Imitate His Voice For Fast & Furious 7
"She's trying to deal with her loss – it's been very hard for her," Casey tells the MailOnline. "But she has her family and we're trying to help and support her as much as we can."
//instagram.com/p/jahc3vNmfX/
Sources tell the outlet she's been spending time with her mother, Julie Pilchard, in Santa Barbara, Calif., as she puts the pieces of her life back together.
Jasmine began dating Paul when she was just 16-years-old — he was 33 at the time. They had been living together at the time of his death, and Jasmine had been close with his 15-year-old teen daughter, Meadow.
Meadow recently posted a touching photo with her late father on her new Facebook account. The young girl also opened an Instagram and Twitter account in order to "combat the imposter profiles that are continually created."
Meadow is set to inherit her father's multimillion-dollar estate at the age of 18.


For this week's show, we discuss the snow CoMo received, and some basics on LGBTQ Rights History. We only get up to about 1100 AD, so be prepared for numerous History shows in the future.
The image used on the post icon is two men kissing depicted by Briseis Painter "Erastes (lover) and eromenos (beloved) kissing" circa 480 BC.


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[ARCHIVED] Tell Us What You Think!
What is the Bicycle and Pedestrian Master Plan Update?
The Master Plan Update 2018 is a critical tool in building a citywide transportation system that is bicycle and pedestrian friendly. The goal of the Plan Update is to encourage residents to bike and walk; to make Santa Rosa a more bicycle and pedestrian friendly city.
The City of Santa Rosa, in coordination with the Bicycle and Pedestrian Advisory Board is updating the Bicycle and Pedestrian Master Plan (BPMP). Since January 2018, our team has been actively gathering community feedback on suggested improvements to the City's Bike and Pedestrian network. Feedback was obtained through a variety of methods including community events, stakeholder presentations, meetings, and through our online survey & interactive mapping tools. The feedback we receive was reviewed and submitted for consideration in developing the draft recommendations for the Bike and Pedestrian networks. A draft of the Bicycle and Pedestrian network recommendations was presented during the Community Open House on July 25.
What is the New Online Mapping Tool?
The new mapping tool is a compilation of the feedback we have received to date. Hard copy maps of the draft recommendations were presented at the Community Open House in July. Community feedback received during the Open House was compiled with the maps to create an updated interactive map with potential projects. From now through August 31, 2018 we would like you to vote (thumbs-up or thumbs-down) and to comment on the proposed projects you would like to see in the final Bicycle and Pedestrian Master Plan. This plan will help guide our city planners on future projects. Access the Online Interactive Map Here!
Did You Miss Our First Community Open House?
Review Presentation Materials and Photos
Community Open House #3:
November 8, 2018, 6:00-8:00pm at Finley Community Center, Person's Senior Wing Room 1
Draft plan presented for discussion and review.


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The Doobie Brothers sind eine US-amerikanische Rockband. Sie haben über 40 Millionen Alben verkauft.

Geschichte
The Doobie Brothers wurden 1969 von Tom Johnston, John Hartman, Skip Spence (ex-Moby Grape) und Gregg Murph in Süd-Kalifornien unter dem Bandnamen Pud gegründet.

Gregg Murph verließ bald die Band, als Ersatz kam Dave Shogren. 1970 kam noch Patrick Simmons dazu. Doobie ist eine Slangbezeichnung für einen Zwei-Blatt-Joint. Angeblich fiel bei einer gemütlichen Kiffer-Runde irgendwann der Satz: "Now we're all doobie brothers", prompt wurde die Band umbenannt – in The Doobie Brothers.

Ende 1970 bekam der Produzent Ted Templeman ein Demo in die Hände und bald bekam die Band einen Vertrag bei Warner Brothers. Anfang 1971 wurde ihre erste LP Doobie Brothers veröffentlicht, die allerdings kein Erfolg wurde. Die Titel präsentierten einen Country/Rhythm and Blues-Rock, der auf Gitarrenrhythmen im Stile der San Francisco-Bands wie Quicksilver Messenger Service aufgebaut war.

1972 verließ Dave Shogren die Gruppe wieder, für ihn kam als Ersatz der Bassist Tiran Porter. Außerdem wurde Michael Hossack als zweiter Schlagzeuger engagiert, was bis dahin nur Grateful Dead und die Allman Brothers getan hatten. Das 72er Album Toulouse Street verkaufte sich dank eingängiger Melodien und betont rockender Rhythmen durch die Singlehits Listen to the Music und Jesus is just alright sehr gut. Das Nachfolgealbum The Captain and Me enthielt mit Long Train Runnin' den ersten Top-Ten-Hit sowie den Nr.-15-Hit China Grove. Das Album erreichte Platz 7, hielt sich über ein Jahr in den Billboard Charts und verkaufte sich über 2 Millionen Mal. Trotz des Erfolges stieg Michael Hossack Ende 1973 aus, der dann durch Keith Knudsen ersetzt wurde, weil man die Besetzung mit einem zweiten Schlagzeuger beibehalten wollte.

1974 veröffentlichten die Doobie Brothers das Album What Were Once Vices Are Now Habits, auf dem erstmals der Gitarrist Jeff "Skunk" Baxter (vormals bei Steely Dan) mitwirkte, der auch im gleichen Jahr ein festes Mitglied wurde. Die erste Singleauskopplung Another Park, Another Sunday erreichte gerade die Top 40 und konnte somit nicht an den Erfolg der Vorgänger anknüpfen. Dafür erfreute sich die B-Seite der Single, der von Patrick Simmons geschriebene Bluegrass-Titel Black Water, wachsender Beliebtheit. Der Song erreichte im Frühjahr 1975 die Spitze der Charts und verkaufte sich 1 Million Mal. Mit dem 1975er Album Stampede konnten die Doobies ihren Erfolgskurs weiter halten. Sehr erfolgreich war die Single Take Me In Your Arms, ein früherer Motown-Klassiker. Tom Johnston schied zeitweilig aus gesundheitlichen Gründen aus und wurde durch den Sänger und Keyboarder Michael McDonald, der bereits mit Jeff Baxter bei Steely Dan mitgewirkt hatte, ersetzt. Für das Album Takin' It to the Streets (1976) steuerte McDonald die Hälfte der Songs bei und nahm auch starken Einfluss auf den Stil, der nun deutlich mehr Soul- und Jazzelemente aufwies und keyboardlastiger wurde. Sehr erfolgreich waren die Singles Takin' It To The Streets sowie It Keeps You Running. Das Album erreichte Platin.

Das eher jazzbetonte 77er Album Livin' on the Fault Line wurde von der Kritik als "unoriginell" bezeichnet, erreichte aber dennoch die Top 10 und erhielt Goldstatus. Ende 1977 stieg Tom Johnston endgültig aus, da für seinen eher rockbetonten Stil kein Platz mehr in der Band schien.

Im November 1978 veröffentlichten die Doobies das Album Minute by Minute. Damit erreichte die Band erstmals Platz 1 der US-amerikanischen Albumcharts und damit den Höhepunkt ihrer Karriere. Es hielt sich fünf Wochen an der Spitze und brachte der Band dank der Nr. 1-Single What A Fool Believes 1979 zwei Grammys ein. Mit Minute By Minute und Depending On You folgten zwei weitere Singlehits. Auf dem Gipfel ihres Erfolges drohte die Gruppe aber auseinanderzubrechen. Jeff Baxter und John Hartman stiegen aus und wurden durch Cornelius Bumpus (Saxophon), Chet McCracken (Perkussion, Schlagzeug) und John McFee (Gitarre, ex-Clover) ersetzt.

Im Herbst 1980 konnten die Doobies mit One Step Closer ihre Erfolgsserie fortsetzen. Das Album löste bei den Fans Begeisterung, bei den Kritikern jedoch eher Langeweile aus. 1981 erschien eine Promosingle mit dem Titel Can't Let It Get Away für einen Coca-Cola-Werbespot, die nur für den japanischen Markt bestimmt war. 1982 trennten sich die Doobie Brothers, da Michael McDonald sich für eine Solokarriere entschieden hatte. 1983 erschien noch das Doppel-Livealbum Farewell Tour, das die Abschiedstournee der Band dokumentierte.

1987 kam es zu einer Reunion der Doobie Brothers mit Johnston, Simmons, Hartman, Hossack, Porter und Bobby LaKind. Das 1989er Comeback-Album Cycles blieb nicht weit hinter den alten Verkaufszahlen zurück und enthielt mit der Single The Doctor wieder einen Top-10-Hit. Aufgrund des Erfolges veröffentlichten sie 1991 das Album Brotherhood. Der Versuch sich vom gewohnten Westcoast-Rock zu entfernen missglückte aber und das Album floppte. Im März 1991 stieß McDonald wieder zu den Doobie Brothers. Am 24. Dezember 1992 starb LaKind an einem Gehirntumor.

1993 tourte die Band in der Besetzung Johnston, Simmons, Hossack, Knudsen, McFee durch die USA. Im Dezember schaffte es ein Remix von Long Train Runnin' (Original auf The Captain and Me, 1973) in die britischen Top 10 der Singlecharts. Eine Überarbeitung von Listen to the Music erschien im Mai 1994. Einen Monat später tourten die Doobies mit Foreigner durch die USA und kamen auch nach Europa. 1995 tourten sie zunächst wieder mit Foreigner und später mit der Steve Miller Band durch das Land. 1996 erschien das Livealbum Rockin' Down the Highway.

Mit dem Album Sibling Rivalry (2000) hatten die Doobies zwar wieder zu ihrem alten Sound gefunden, aber besonders erfolgreich war es nicht.

2002 wurden die Alben Cycles und Brotherhood auf dem Label One Way Records wiederveröffentlicht. Die Remasters enthalten Bonustracks. Auf Cycles von 1989 wurde Anything For Love, zuvor nur auf der Hitsingle The Doctor enthalten, hinzugefügt, sowie der Extended-Remix des zweiten Hits Need A Little Taste Of Love. Auf Brotherhood von 1991 finden sich mit All Your Dreaming und Fool You, Crazy Me zwei bislang unveröffentlichte Titel, außerdem als dritter Bonustitel eine akustische Version von Rollin' On.

2004 starb Cornelius Bumpus an einem Herzinfarkt.

Am 25. Juli 2004 gaben die Doobie Brothers im Wolf Trap National Park ein Livekonzert in folgender Besetzung: Michael Hossack (Schlagzeug, Percussion), Tom Johnston (Gitarre, Gesang), Keith Knudson (Schlagzeug, Gesang), John McFee (Gitarre, Dobro, Pedal Steel, Slidegitarre, Violine, Gesang), Patrick Simmons (Gitarre, Gesang), Guy Allison (Keyboard, Gesang), Marc Russo (Alt-, Tenor-, Baritonsaxophon), M.B. Gordy (Percussion), Skylark (Bass, Gesang), Marvin McFadden (Trompete), Mick Gillette (Posaune, Trompete). Dieses Konzert wurde in dem Film Doobie Brothers Live at Wolf Trap von Michael Drumm festgehalten.

2005 starb Keith Knudsen an den Folgen seiner Krebserkrankung.

Nach zehn Jahren erschien 2010 mit World Gone Crazy erstmals wieder eine CD mit neuem Material. Neben der normalen CD mit 11 Titeln enthält die Deluxe-Fassung die zwei Bonustracks Little Prayer und New York Dream sowie eine DVD mit einer Dokumentation der 40-jährigen Bandgeschichte. Auf der japanischen Veröffentlichung sind noch zwei weitere Bonustracks: Das Instrumental Delta Devil Dog und das Demo Lie To Me. Das Album erreichte im Oktober 2010 auch die Top 40 der Billboard Charts.

2010 zog sich Michael Hossack aus gesundheitlichen Gründen wieder von der Band zurück. 2012 erlag er seinem Krebsleiden.

Im November 2014 erschien das Album Southbound, eine Neueinspielung ihrer größten Hits mit Stars der Countryrock-Szene. Dabei kam auch Michael McDonald auf den Titeln What A Fool Believes, Takin' It To The Streets und You Belong To Me zum Einsatz. Am 10. Oktober 2021 veröffentlichte die Band ihr Album Liberté.

2022 starben zwei ehemalige Schlagzeuger der Band: zunächst Chester Eugene "Chet" McCracken (* 20. September 1946; † 11. Februar 2022) und später dann auch John Hartman im Alter von 72 Jahren.

Diskografie

Weblinks

 thedoobiebrothers.com

Einzelnachweise

Countryband
Rockband
US-amerikanische Band
Grammy-Preisträger


Found a cool pic while surfing,share it with us.
Sticky How Much Snow and How Cold?
Sticky Phobia's ! Whats Yours?
Sticky How did you pick your Username?
Best IKS receiver out there ,don't know which board to ask this?


Dayot Upamecano was born on Oct. 27, 1998. He is currently 20 years old and plays as a Centre Back for RB Leipzig in Germany. His overall rating in FIFA 19 is 77 with a potential of 88. Upamecano has got a 2-star skillmoves rating. He prefers to shoot with his right foot. His workrates are Medium / Medium. Upamecano's height is 185 cm cm and his weight is estimated at 83 kg kg according to our database. Currently, Dayot Upamecano is playing with number 5. His best stats are: Strength: 88, Jumping: 86, Sprint Speed: 85, Stand Tackle: 84, Aggression: 81.


text:
Cambarus carolinus är en kräftdjursart som först beskrevs av Wilhelm Ferdinand Erichson 1846.  Cambarus carolinus ingår i släktet Cambarus och familjen Cambaridae. IUCN kategoriserar arten globalt som livskraftig. Inga underarter finns listade i Catalogue of Life.

Källor

Tiofotade kräftdjur
carolinus


text:
Q: How to detect the cpu-peak-inducing transaction/statements (mostly read/select) from mon$... data? I can see that the Firebird 2.1 process (on Linux) (for our program) reaches 97% CPU load, the load may be distributed, e.g. the server can have 4 cores and 2 cores are consumed with 97% load and the remaining 2 cores are under normal load (1-10%) from the Firebird process. The bad thing is, that this 97% peak can last half hour, an hour or even longer.
As I understand, then I just need to determine the Firebird transaction and the Firebird attachment (i.e. connection) that has created this peek and then I can just ask the user/software instance, that created this connection/attachment to close his/her program and start anew. When attachment is closed, the Firebird can sense this and Firebird process stops any CPU loads and processes that were assigned to that attachment.
So, my aim is to look on the data from the monitoring tables (mon$...) and to determine the offending transaction/connection.
I came up with the select (for Firebird 2.1):
select a.mon$user, sa.*, t.*
  from mon$transactions t
    left join mon$io_stats s on (t.mon$stat_id=s.mon$stat_id)
    left join mon$attachments a on (t.mon$attachment_id=a.mon$attachment_id)
    left join mon$statements sa on (t.mon$transaction_id=sa.mon$transaction_id)
  where s.mon$page_reads>1000000

This SQL seems to be right, but practically the results are misleading. For example, my select returns several entries with a.mon$timestamp that is 4 or even more hours old. I can not believe that there are transactions that are so old and that still are taking resources. The strange thing is that the records have no data from left-joined mon$statements. So, I have some information about long-running transactions, but I have no information about statements that case created or prolonged this transaction. I don't even understand whether such transactions are actually creating the CPU peak or if this data is obsolete.
So, how to correct this SQL (or write completely anew) to find the statements/attachments that is causing CPU % in Firebird 2.1?

redpajama_set_name: RedPajamaStackExchange


text:
Q: WPF Call MessageBox.Show asynchronously I have an object that has a timer and it throws an event when the timer reaches to 5 minutes. In this event, I call a MessageBox.Show("Something") in my MainWindow.xaml.cs.
The problem is that when I call the MessageBox.Show(), the timer stops, until the user hits ok. And I need the timer to keep going even if the user hasn't clicked ok. Is where a good, elegant way to do this? This is what I've tried so far (but didn't work):
        private void OnAlert(object sender, MvpEventArgs e)
        {
            this.Dispatcher.Invoke(
                System.Windows.Threading.DispatcherPriority.Normal,
                new Action(
                  delegate()
                  {
                      MessageBox.Show("Alert");
                  }
              ));
        }

A: You could call the message box asynchronously using BeginInvoke.  I did this recently and blogged about it here: http://www.dmcinfo.com/blog.aspx/articleType/ArticleView/articleId/163/Asynchronous-Message-Box-in-WPF.aspx.  Hope this helps.

A: What kind of timer are you using?  Try a DispatchTimer.  Doesn't make much sense that it would stop.  You might have to be explicit about things (calling .Start() again from the completed handler, but the DispatchTimer auto-resets).
http://msdn.microsoft.com/en-us/library/system.windows.threading.dispatchertimer.aspx
The other thing you get with the DispatchTimer is that it's Tick event is automatically evaluated on the Dispatch queue, so you don't have to explicitly put it in the Dispatch queue... just call MessageBox.Show yourself.  :)
Also... what you are doing sounds awful... I'm hoping MessageBox.Show is just your proof of concept and you are going to replace it with SomethingBetterAndNotSoAnnoyingAndModal.Show(), but this is not helpful to your question, just an observation.

A: I would not call it elegant, but you could build your own Window to use as a Messagebox and call it with "Show" instead of "ShowDialog".


11.24 Metallic Minerals Processing - US EPAdry grinding processes are used, PM emissions can be considerable. . The emission factors in Tables 11.24-1 and 11.24-2 are for the process operations as a.dry grinding emission factor,Talc Processing - EPASecondary grinding is achieved with pebble mills or roller mills, producing a product . heated air to dry the material as it is being ground. Hammer mills or .. Emission factors for emissions from talc processing are presented in Table 11.26-1.
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Grinding/Crushing of Aggregates 430-426-7078-0000 47019 . These emission factors, which represent dry conditions, should be considered to reflect worst.
Technical Support Document - Vermont Department of .
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An emission factor is a representative value that attempts to relate the quantity of a pollutant released to the atmosphere with an activity associated with the.
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Using national inventories for estimating environmental impacts of .
Methods: This study estimates reference emission factors for United States dry-grind corn ethanol production and gasoline production processes suitable for use.
sulfite), and dry cleaners. . We recommend that you refer to the emission factor sources referenced at the . I. Refining: grinding and handling of the bauxite ore.
Appendix C: Site Specific HAP Emission Factors for Metal Processing. Appendix D: Facility .. 3) GP 006, Grinding, Sawing and Abrasives Blasting .. Total Particulate Matter: less than or equal to 0.3 grains/dry standard cubic foot of exhaust.
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Screening/Grinding Operations, Associated Engines and Wood Waste .. Therefore, the abated VOC emission factor for CASP composting and curing is.
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latest emission factors are available on the AP42 webpage. The most recent ... 7.18 Leadbearing Ore Crushing And Grinding •••••. 8. MINERAL .. anthracite fired boilers operate in the dry tap or dry bottom mode be'cause of anthracite's.


text:
Q: iOS: Returning to main XIB from secondary XIB I am trying to change a back to the main xib after I was on a second XIB. This is the current code I am using:
NSArray *nibObjs = [[NSBundle mainBundle] loadNibNamed:@"Results1" owner:self options:nil];
    UIView *aView = [nibObjs objectAtIndex:0];
    self.view = aView;

I have a button on the second xib that returns back to the originating xib. When I hit the button the app crashes. I am not sure why because it does not display an error - it just crashes. Here is the code on the button on the second xib or "Results1" xib file:
-(IBAction)Button100:(id)sender
{
NSArray *nibObjs = [[NSBundle mainBundle] loadNibNamed:@"main" owner:self options:nil];
UIView *aView = [nibObjs objectAtIndex:0];
self.view = aView;
}

Not sure what I am doing wrong.

A: Add as subviews instead, so you can then just 'pop' the Results1 view off:
// in your .h
@property (strong) UIView *aView;

// replace your provided code with this
NSArray *nibObjs = [[NSBundle mainBundle] loadNibNamed:@"Results1" owner:self options:nil];
self.aView = [nibObjs objectAtIndex:0];
[self.view addSubview:self.aView];

- (IBAction)Button100:(id)sender
{
    [self.aView removeFromSuperview];
    self.aView = nil;
}

Just a suggestion — if you want them to 'swap', consider using the class method transitionFromView:toView:duration:options:completion: in UIView.

A: The problem is I needed to turn off Automatic Reference Counting.


Talk about some fun new tricks!
Maile Girl here. I'm so excited. On Saturday, Mommy, Daddy and I went to an open house for my new school. I don't start until August, but I got a chance to meet a bunch of new friends that will be my classmates and see what a "typical" day at school would be like.
The classroom is really, really cool. It's big and bouncy. It is a little hard to walk around in it, but so much fun to jump all around with my new classmates. Not really clear to me where the desks are going to go and I think coloring will be a little hard. We'll figure it out I'm sure.
On Sunday, we headed up to Union Street for the annual Easter fair. We met up with Sophie and Jake and had a lot of fun walking around in the sun.
Once we forgot about the animals we had lots of fun!
Hannah and Maile on the hunt!
Mission Accomplished - Easter Egg Hunt 2011 in the books!
Maile's new favorite song is "Happy Birthday" – and despite the fact that we weren't really singing happy birthday to anyone in particular, we now have a generic "happy birthday" song we can send out to family and friends 😉 Coming soon on your birthday!
In this Maile Minute, Maile reads us a story – which you can't really understand for the first half of it because she has her pacifier stuck in her mouth. Speaking of the pacifier, astute followers might have noticed that it has made a big return to Maile's daily life. Originally, the pacifier was basically a trigger for Maile to go to sleep – around 6 months though she completely rejected it since he knew it meant it was time to go to bed. A couple months ago, she found one lying around and latched on to it again. She wants it constantly now. Our theory is that at least part of it is that she is going through some major teething with her molars. Regardless, the end of this second pacifier phase is coming… Maile just doesn't know it yet.
We arrived back in San Francisco tonight, but we still have some highlights from our NYC adventure to share. Last Thursday, Maile and I spent the day exploring the city. At one point we headed down to Union Square and ran into some break dancers performing in the subway station.
We'll have to wait for the next Maile Gaga video to see if she picked up any new moves!
On Friday, we headed out to New Jersey to visit Maile's good friends Maggie and Jane and their respective families (including new baby brothers for each that we hadn't met yet, Sean and Dean, respectively!) Uncle Ryan and Aunt Diana also came up from Washington, DC to see everyone – so we had a full on reunion.
Due to the new babies this was our first time getting everyone together since our trip last year. It was awesome seeing how much the girls have grown up. Maggie and Jane are both a little less than a year older than Maile. Maile wasn't even walking on our last visit – this time she was able to run all over with the girls – and run they did!


text:
Q: A relative time dilation paradox. Let us assume that there are two astronauts A and B who are floating in space. A sees B passing by and vice versa. A sends signals to B every minute. According to A since B is moving his clock will be slower. So B will receive the signals prior to the appointed minute. The same argument can be applied for B who will conclude A's clock is running slow. Who is right?

A: Both are right. Any moving clock is slower than a clock at rest, from the perspective of the frame at rest.
Maybe this simplified freehand graphic (apologies for its lack of precision) helps to see that both A and B feel the same about each other's time dilation:

Let's say that the red axis represents A and its proper time measured in minutes (first eight minutes are showed). Green axis and its numbers represents B observer.
Light or radio signals from A to B, represented in red oblique lines, are fired on a minute basis. Six of them are showed, that took six minutes of A proper time. However, these six signals from A to B take some eight minutes in B proper time. B concludes that A clock is slower. The same holds if we invert the situation (green lines from B to A). Well, almost the same (the last green line is intended to go from green 6 to red 8, blame my trembling fingers).

A: The key is to remember that you need to pick a reference frame, and stick with it.  So, let's say we are A.
We see B pass by us.  Let's say, that B intends to travel 4 light years, turn around, and then come back.  B accelerates away from us, reaches 80% of the speed of light, and begins his journey. According to us, how long will it take? If $d$ is the distance to his destination, then total time should be $t=\frac{2d}{v} = \frac{8 \,\text{lightyears}}{0.8\,c} = 10$ years.  So, we say that 10 years will pass until B returns to us.
How long do we say B will say the journey will take?  Multiply our time by the Lorentz factor, $$t'=\frac{t}{\sqrt{1-\frac {v^{2}}{c^{2}}}} = 6$$ B will only age 6 years when he returns, compared to the ten years we have aged.
How do B's calculations compare?  Well, due to length contraction, the distance to his destination becomes our distance (4 light years) divided the Lorentz factor (since he sees everything moving by him, he says everything else is becoming length contracted.), which gives 2.4 light years.  Since he is travelling there and back, the total distance traveled is 4.8 light years.  Since his velocity is .8c, the total elapsed time is $t=\frac{d}{v}=\frac{4.8\, \text{lightyears}}{0.8\,c} = 6$ years.
So, when you include ALL effects (time dilation and length contraction), we can see the numbers work out such that B has measured 6 years, and A has measured 10.
So, what decides who elapses less?  This is key - it's the one who had to accelerate.  Whatever B used to get his journey started forced him to accelerate, so he was a non-inertial observer.  So, he ended up elapsing less time.  Similarly, a rocket leaving earth will elapse less time, since he was the one who had to accelerate away.
Now, you may ask, half way through the journey, what are the numbers?  This is a meaningless question - since nothing can be transferred faster than light, either a signal must be sent (the same conclusion will hold), or they must meet up (as in our example).  So, you can see, when the two observers meet up, they will find the one who accelerated elapsed less time.  That's the whole origin pf the 'paradox' - they both can say the other's clock is slower.  However, when you do the calculation (when they meet up to look at each other's clocks), you will find that B elapsed less.


text:
Q: how to permanently edit coredump_filter file and apply immediately without reboot? is there any way to permanently edit coredump_filter file and apply immediately without reboot.
temporary I can do like
echo 0x0 > /prod/self/coredump_filter

but this for current session only. i want to make this permanent and for everyone.
is there any way to do this?

A: Can this works?
sysctl -w /prod/self/coredump_filter 0x0
sysctl -p


text:
← On Dear Esther (again)
On Any Empire →
On The Authority
If you're up on the Twitter wire, you might know that sometime last week, in a fit of strange nostalgia, I read Ellis/Hitch issues of The Authority. A little bit of confessional bio for a second: The Authority is the first "run" of a comic book that I ever read. Before that I had read lots and lots of single issues and had a serious Sonic the Hedgehog comic addiction for about five years. But The Authority was the first time I sat down and read an entire series (this is the Ellis/Hitch stuff) all in one whack. And I loved it, of course. So that little bit of confessional investment aside, I want to say some stuff about the issues.
I will let Anne Thalheimer at PopMatters do the work of giving you the short of the comic:
The Authority is, at its fundamental core, a treatment of the Justice League of America taken to its logical conclusion. Seven of the most powerful superhumans in the Wildstorm Universe take it upon themselves to protect Earth from all threats, internal or external. These threats are usually gargantuan in nature and the eradication of these threats equally Herculean. This is widescreen, cinema-scope super-heroic fiction at its finest. Consisting of Jenny Sparks, Swift, the Engineer, the Doctor, Jack Hawksmoor, Apollo & the Midnighter (a gay version of the World's Finest duo i.e. Superman and Batman), The Authority was a spin-off from the late Stormwatch series, which took as its premise a UN-sanctioned super group. The creators responsible for these epic wonders were Warren Ellis (writer), Bryan Hitch and Paul Neary (artists) and together they delivered 12 pulsating issues that illuminated the jaded super-hero comic book industry.
1. What The Authority Do
In an interview about Desolation Jones, Ellis stated that
"I saw no reason why the violence should be enthralling. Following the dictates of the hard-boiled detective genre Jones plays with, there had to be violence in every episode, but I didn't want it to be without consequence, you know? So, when it happens, it's stark and horrible, brings you right back down to earth – hopefully."
While we get comics criticism pretty often from Ellis, getting a sense of his comic aesthetics is a little more difficult. The statement above assumes that the normative consequences for violence in comics is relatively low–which puts The Authority in a particularly interesting light. You see, The Authority is a superhero team comic. The characters go from incredibly original–Jenny Sparks, the spirit of the 20th century and Jack Hawksmoor, a god of cities–to derivative characters rendered whole-cloth from the history of superhero comics. The Authority is not some rag-tag group of individuals who have to prevent jokesters or wealthy moguls from taking over the world–they prevent catastrophe on a global scale. They prevent a moon-sized primal god from wiping out life on Earth. They prevent colonization of their reality by an alternate England ruled by alien Sicilians. They do big things, and they do them violently.
And maybe it is how The Authority do things that is interesting. A couple people have already hit on my point here, so lets just skip to the block quotes. Grant Morrison wrote in his Supergods that
"…the members of the Authority were comfortable with their powers, using them to sensible fight "bastards" and improve the lot of everyone on planet Earth. It was the utopian vision of Siegel and Shuster strained through British cynicism and delivered on the end of a spiked leather glove. It took the accusations of fascism that had haunted Superman and suggested a new kind of superfascist, one that was on our side." (311)
Andrew Terjesen speaks to this as well in his "Why Doctor Doom is Better that The Authority,"
"… The Authority's power makes it more likely that people would choose whatever the Authority wants for fear of getting beaten up. This might not be as big a deal if we could be sure that no one would ever use the power of the Authority to further their own agenda, but we have no guarantee that they are correct in their perceptions of what is best for us." (89)
So The Authority are a team who direct the world through violence, whether we like it or not, and that violence has very few consequences. The often misquoted "great power equals great responsibility" line takes on a new form in the context of The Authority; they have the greatest power, and so they take on the greatest responsibility. This has consequences in a number of ways. For instance, read this page
The Engineer, with the help of some old-fashioned moral support, uses her "great power" and, on the next page, disintegrates the soldiers who are attacking her. She uses her power to enact a violence that is so overwhelming and total that the possibility of retaliation is literally impossible. She atomizes her enemies.
This is the entire project of The Authority: using superpowers to commit violence on the largest scale possible. "Stories on the largest scale we can imagine," as Ellis said in the original proposal for the series. In another issue, Jenny Sparks wipes the entire continent of Italy off the map of an alternate-reality Earth. Everyone dies, of course, and she uses that as a way of explaining her powers to that world. She forces them, in her language, to "be good." We should be horrified, of course, by all of this. Mass murder becomes a way of getting things done for the team, and Grant Morrison is right to call them fascists. Colin Smith reads it a different way, but I'm in the camp of thinking that atomic weapons are war crimes, so I'm in a different camp than Smith is anyway.
[SIDEBAR: Warren Ellis obviously has his own way of thinking, and being bored with, superheroes. They are human-figured gods, in all ways, and I don't think it is any coincidence that all of members of The Authority are godlike in their power sets. There are no mere tricksters or dazzlers on the team–everyone has the ability to commit murder on a mass scale. There is a long history of gods doing terrible things to show their power and to make sure that humans behave, and unlike real life, there is no way to be an atheist in the world of The Authority. You have no choice but to believe. When Grant Morrison talks about comic book characters being our new gods, he should realize that they are the same as the old gods, and that The Authority are about as Old Testament as it gets.]
So that is what the team "does." They commit acts of violence on a global scale and make sure everything is hunky dorey on the whole. Jack Hawksmoor, discussing the destruction done to a city after a huge battle, says "How many people would've died if we hadn't been here? It's not a great answer, I know; but it's the best there is. We saved more people than we killed." That's the world that The Authority live in. That is what they do.
2. What The Authority Looks Like
Bryan Hitch was the artist on the first twelve issues of The Authority, and he is widely credited with creating what is now called "widescreen comics." It is an aesthetic movement that is typified by uncompressed storytelling combined with large actions–it is a Roland Emmerich film in comics form. The fact that I can describe it this way is maybe the most telling thing about widescreen storytelling–it is based on film techniques rather than traditional comic book ways of showing and explaining characters and scenes.
In any case, Hitch invented it. In an interview, he talks about what drew him to comics, and that it was specifically Curt Swan's Superman art, done in a "naturalistic style," that pulled him in. One of the key things about Hitch's art is how effortless everything looks; the superheroes look like people in their element, doing what they are good at, like sports players or Olympic swimmers. It looks authentic. In another interview, Hitch talks about the way that he and Ellis plotted out their issues of The Authority together:
"When Warren and I first came up with the idea of the Authority the three stories were worked out as just one line pitches: The Authority overthrow a tyrant armed with thousands of Supermen, The Authority repel an invasion from an alternate earth and The Authority Kill God. My input was more along the lines of asking for and describing things relating to the action, such as the dogfight over LA and having the invasion of The Carrier being on horseback. My input on Ultimates is far greater as the working relationship with Mighty Mark Millar is much closer."
The stories that the The Authority are involved in are giant, and they require giant artistic visions. Hitch is amazing when it comes to this, and there are huge vistas destroyed in the most beautiful ways. People are trapped under piles of artfully rendered rubble. The drawn world, and the characters in it, become adapted to the kind of violence that The Authority are involved in. It makes a lot of sense that widescreen comics come out of this comic–we need huge focal lengths in order to comprehend all of the destruction.
This page is particularly resonant for me, especially considering that this was in 1999. The world was really buying that we were in end of history, or at least all of the non-grim meathook parts were. The visual representations that we were experiencing in that time period were all about the destruction of our world–the sheer number of late-1990s natural apocalypse is stunning. What I mean by "natural" is that there were a lot of movies in which the apocalypse occurred at its reasons were completely opaque–a meteor comes or an alien invasion happens. There are no reasons; they simply happen.
The Authority presents the world in a similar way, but instead of a solution with quirky working-class oil people, or Jeff Goldblum, we are presented with an equally opaque response. The people on the ground, the ones dying in the hundreds of thousands, don't understand what is happening; The Authority is hidden to them–they just feel the impact. The visual world of the comic reflects this–there are lots of panels of random violence, cinematic in the way that Transformers 2 is cinematic. Things are happening, and I can't really make sense of them, but I get a feeling of great conflict.
Hitch comments about this in yet another interview where he suggests that the storytelling techniques he used during his JLA run were "a difficult fit." He claims that there was a struggle between his desire to open up the action, presumably into a cinematic mode, and writer Mark Waid's desire to keep the stories personal to the characters, compressing the action with dialogue and emotion. This is telling about the way The Authority's aesthetic is revolutionary–Mark Waid is the perfect distillation of Silver Age knowledge and ethics, and if it doesn't fit with his vision of comics, it doesn't fit with the way that comics sees itself. Nicolas Labarre writes about the page layout of the issue above, and notes that the battle becomes too big for individual pages, and that a two page spread has to be read as a "surface" in order to make sense. Hitch is pushing the physical boundaries of comics reading here, collapsing the old and bringing in the new.
[Too Busy Thinking About Comics actually posted about the aesthetics of The Authority in the middle of my writing this, comparing it with a modern issue of Justice League, making a point about how the expansive images, particularly splash pages, create a sense of large world in which monolithic happen.]
3. What The Authority Means
The year 1999 means something. In fact, it is a critical part of the series, with Jenny Sparks being the spirit of the 20th century and all. So the 90s are rolling around in the comic–U.N. approved measures, biological weapons, a prophetic giant aircraft crashing into an equally giant tower. These are all, fundamentally, images of destruction that were replicated across media in the closing decade of the millennium. In his mournful essay "Transaesthetics," Baudrillard wrote
"Our images are like icons: they allow us to go on believing in art while eluding the question of it existence. So perhaps we ought to treat all present-day art as a set of rituals, and for ritual use only; perhaps we ought to consider art solely from an anthropological standpoint, without reference to any aesthetic judgment whatsoever. The implication is that we have returned to the cultural stage of primitive species." (19)
Comics are just words and pictures, as we know, and they are no more immune to this process of collapse than a photograph of your grandmother. The Authority is Baudrillard's ritual in the most base way–it attempts to divine the reasons behind being in the world. It is part of the same process of being-opaque to the common person that I remarked on above; no one understands the machine that is existence, and so we have to create ways of understanding. The Authority are bastards, but like Morrison said, we want them to be on our side. The subtle critique of the whole thing is that there is no such thing as "our side." The average person is just another building, another expendable object, something to be burned and trapped and vaporized. People are merely numbers. The Authority aren't prophets on this point–Ellis merely uses them to think through the very 1990s way of risk assessment. There is nothing sacred, not even life, and if the numbers work out, sometimes a city has to be sacrificed (or an aspirin factory has to be bombed.)
So what does The Authority mean? I don't know, I just thought that sounded like a really nice way to wrap this up instead of saying "conclusion." The comic is a way of thinking about the world, and it is a way of thinking about how terrible everything is, and that even in the fact of galactic, mind-boggling scale problems, the actions of those in power are probably going to be the same. For Ellis and Hitch, a grand scale necessitates a utilitarian politics that I am, frankly, unhappy with. But I think the comic is beautiful because of how it breaks and reflects a world on the cusp of the 21st century. So take that how you will.
This entry was posted in Comics and tagged bryan hitch, comic books, jean baudrillard, the authority, warren ellis. Bookmark the permalink.
5 Responses to On The Authority
Mark Waid says:
"This is telling about the way The Authority's aesthetic is revolutionary–Mark Waid is the perfect distillation of Silver Age knowledge and ethics, and if it doesn't fit with his vision of comics, it doesn't fit with the way that comics sees itself."
Or…or, and I'm just going to throw this out there as an alternate theory to your offensive and inaccurate "Bryan's a genius, Waid was a chimpanzee set in his ways" postulate…Bryan and I come from wholly different mindsets when it comes to how we see and construct stories. What interests me when I sit down to the keyboard are the moments of heart and personal conflict (which, BTW, are about as far away from the Silver Age as you can get, thanks), what Bryan gets ramped up about when he draws are the spectacular visuals, and while once I realized this was a sticking point I tried to adapt, it was too little, too late. I certainly didn't ask him to leave JLA and I begged him to stay and help me construct stories more to his liking–that's the God's honest truth–but after hundreds of pages (including the tabloid), he felt burned out. We were and remain friends with great respect for one another's work and where the other was coming from creatively, we just weren't a good match.
kunzelman says:
Thanks for the clarification on this. I wasn't trying to be offensive, but I was trying to get at the exact point that you are making: the way you envision the storytelling techniques and the way that Hitch envisions them are totally, and maybe radically, different. The arguments that I made came straight from those interviews with Hitch, and if I offended you, I really am sorry. I don't think you are a "chimpanzee," and I think you're an amazing writer. I especially enjoy your Boom! work, and I hope that you keep producing great stuff in the future.
The point that I am making about your connection with the Silver Age is that you are focused on tight, compressed comics storytelling, which I think is tied to the way that superhero comics envision themselves across the board pre-Authority. I'm not judging quality there–in fact, I don't think Kingdom Come would be held in such high regard if that storytelling technique wasn't valuable. That doesn't change the fact that the way you tell stories is part of a grand tradition, and Ellis and Hitch throw them out to work on a different kind of project.
I hope that clears up some of the confusion, and once again, if I offended you, I apologize profusely.
No harm, no foul. I just bristle whenever I hear myself described as some distillation of the Silver Age, which I think is really unfair and generally a pejorative. I may have overreacted in misunderstanding, for which I apologize. All's good.
Would you be interested in doing some kind of email interview with me? I really do think you get the Silver Age label put on you pretty often, and it would be interesting to ask you some questions about it and why you think it happens.
Ryan Charlie says:
Do you find the Silver Age tag offensive in some way? I often times see you in that light because you seem to channel this pure sense of story telling that many other contemporary writers seem to have done away with and this is entirely a good thing. Your run on Daredevil for example is a throwback to when DD was a fun and happy character. That's not to say that the previous runs on the book have been bad, just that the drastic change in tone from then to now is quite noticeable and I don't know that any other writer could have pulled this off as well.
We like when you tell fun and happy stories Mr Waid, in my opinion they are your among your strongest works. Nobody wants to read dark and depressing books forever and you always seem to bring a joy and happiness to whatever characters you are working on and your runs on said characters are almost universally loved.
(Except for the Thing's rap from Fantastic Four).


text:
Disability Action's Laura McCartney Awarded MBE in Queens Birthday Honours List
Disability Action's Assistant Director of Employment Services, Laura McCartney has been awarded an MBE for services to disabled people and their families in Northern Ireland.
Laura lives in South Belfast and is married with three children. She has worked in Disability Action for nearly thirty years overseeing a wide range of employment programmes for disabled people such as Workable NI, Training Support, Employment Support, Job Match and Employment Advocacy. She has ten years' experience of supporting people with disabilities to resolve employment issues and nearly twenty years' experience of policy and strategic development in the fields of employment and equality. Laura is a strong advocate for equality and inclusion so that disabled people get the opportunity to make a positive contribution to our economy and community.
Speaking after the announcement of her MBE, Laura commented,
'I was surprised and delighted to be awarded this honour and regard it as an endorsement of the work of all of our team at Disability Action. For me, there is nothing as important as employment in defining who we are and what our life chances will be. Across Northern Ireland, thousands of disabled people are succeeding in work but there are still real barriers to inclusion. This honour highlights the continuing need to drive forward to secure employment equality and recognise the skills and abilities of disabled people.'
Kevin Doherty, CEO Disability Action congratulated Laura on her MBE,
'We at Disability Action are extremely proud of Laura's achievement in being honoured with an MBE. Laura is a truly passionate, committed and dedicated member of staff who continually strives to ensure that people with disabilities attain their full rights, gaining suitable and sustainable employment. She fully deserves this accolade. I am elated for her and her family and it is a fitting honour for Laura.'
Updated: 20th February, 2018
Author: Michelle McCoy
£450,000 for 3 new National Lottery funded projects in Northern Ireland led by disabled people
More than £1 million has been awarded to 10 new research and pilot projects across the UK, of which £450,00 has been allocated to 3 projects in Northern Ireland.
Disability Action's Hugh McIlhatton Awarded Lifetime Achievement Award
Northern Ireland's road safety champions were officially recognised for their contribution to helping improve safety in their communities.
New resource highlights the positive impact of The Purple Workforce
Disability Action's Employment Advocacy Service has launched a new resource: 'The Purple Workforce: The Impact of Employing Disabled People'. The Quick Guide outlines the positive impact employing disabled people can have on a business.


Almost every year on the Saturday evening nearest to February 22nd, my wife, Ruth, and I attend the birthday dinner celebration for George Washington, the first and greatest US president. At each George Washington's Birthday celebration, The Mount Vernon Ladies Association* presents a thought-provoking after-dinner speaker. This year's speaker was Walter Isaacson, the scholarly author and biographer of great Americans from Benjamin Franklin to Steve Jobs.
He is also the current president of the Aspen Institute, whose summer sessions I have attended. His talk at Mt. Vernon focused on the comparison, contrast, and coordination of George Washington and Ben Franklin.
We all react to various inputs into our daily lives through many filters, but most often we react through the singular vision that guides our intellectual actions. For my sins, I tend to think about my roles as a fiduciary investment adviser and investor in mutual funds and similar vehicles as well as an investor in selected financial services stocks. My reactions to the Mt. Vernon dinner speech are within this context.
While Mr. Isaacson's talk was about these two great Americans' political evolution from different starting points, I could not avoid thinking about the inputs these two successful leaders and entrepreneurs would have on my portfolio management and investment challenges of today.
Think about the character of George Washington, the military leader and major farm landowner, who was willing to face unknowns against long odds of success in his search for his own and his country's growth. In contrast was Ben Franklin, the poor boy who looked for inexpensive strategic investment at bargain prices.
Intellectually, through my narrow eyes, I perceive George Washington as our first growth-focused investor leader and Ben Franklin as our first innovative value seeker. These were the progenitors in the more modern world of Warren Buffett and Charlie Munger as future-focused "growth" investors (both of whom I am looking forward to hearing at their Berkshire Hathaway** annual meeting this year) and Ben Graham and Sir John Templeton as value-focused investors.
Long-time readers of these posts and my book Money Wise have learned that I was first educated about security analysis by handicapping (analyzing) at the race track.
The key to regularly coming away from the track as a winner was first to avoid losers by not having a betting interest in every race and being highly selective in betting on the difference between the probabilities and the odds dictated by the weight of other people's money. I try to apply the same general approaches to selecting funds for portfolios of funds and individual investment management stocks.
These processes are very different from reading the standard Request For Proposal (RFP), which is a highly quantitatively driven search filter for institutional management mandates. These documents' authors believe that they are dealing with commoditized skill sets that can easily be selected quantitatively.
Going back to my racetrack education, I recognize that this approach leads to backing favorites. A study of past betting results (past performance) reveals that favorites win a minority of the time, and when they do, the returns are low and usually can not meaningfully offset the losses when the favorites don't win.
To me, successful selection is much more an art form than a science. The art form has to do with understanding the way particular people work successfully in competition and combination with other skilled players. Thus, to me, the key skills of selection are more akin to the brilliant curators of museums than mathematical screeners. The great curators mix some of the talents of George Washington and Warren Buffett, looking for growth beyond the present, and the two Bens (Franklin and Graham), innovative bargain purchasers.
In general, most equity portfolio managers start as security analysts, as I did. Many fixed income managers start off on a trading desk. Why is it that there are considerably more analysts and traders than institutional portfolio managers? Is it the normal pyramid of responsibilities and related compensation within institutional management organizations?
Yes, that is one factor, but it is not the only one. Good analysts and traders — those with winning records of selections — are absorbed by their focus on essential details of particular investments in the current time frame. But this kind of highly competitive knowledge is not enough to make good portfolio managers. The big hurdle that these bright people need to get over is similar to the selectors using RFPs to pick managers.
A collection of securities having very similar characteristics is like a symphony orchestra that can all hit the equivalent of high Cs, or a museum that shows only all the artwork of an artist produced in a single year of his or her development. The risk in such a collection is the likely homogeneity of results when impacted by the unknowns that occur.
George Washington thrived on dealing with the unknowns that others did not perceive. A sound portfolio can survive and prosper under a number of different conditions, including the unexpected. This requires moving away from the comfort zone of intense knowledge and into the spheres of the less known. Many analysts and traders can't comfortably make the jump.
Just combining securities of different natures is not good enough; portfolio managers need to have an effective knowledge of trading desks. They need to understand what kind of trading orders their traders can execute well, including the difficult trades. Often the trading desk is the first source of the recognition that something is happening in a particular security, sector, or market. I view traders as an important source of market intelligence. Apparently false rumors that could be true are often as important to the future as facts that turn out to be true.
A working knowledge of compliance is a necessary set of skills for today's portfolio manager. Many smart and essentially honest analysts, traders, and portfolio managers stray over the somewhat-indistinct lines of legality and ethics. Their perceived obligations to clients often lead them to inadvertently breach a compliance barrier, which can prove to be expensive for all concerned.
Another skill in the real world is the ability to manage the portfolio to fulfill its marketing position. This is what the customer expects. Part of the commercial responsibilities of a successful portfolio manager is often to become a spokesperson for the particular product or the firm. Some senior portfolio managers move up their corporate ladders and become managing executives with responsibility for managing people, including difficult people like themselves. Most are unprepared for this by their formal education or by the CFA Program readings and exams.
Every now and then, former analysts I have known move up through their organizations and become CEOs of their firms, including some which are publicly traded. As one moves up in this world, one's track record becomes muddied by other people's actions, and so selection of which firm to invest with does not lend itself to statistical sorting.
My friend, Jason Zweig, has a thought-provoking piece in Saturday's Wall Street Journal, questioning how DNA — or, more accurately, the critical life experiences of our parents — shapes our investment thinking. He points out that Ben Graham's mother was "wiped out" by unwise speculation in 1907, and a somewhat similar experience by John Templeton's father shaped both of their investment practices.
Graham and Templeton first looked at the downsides and then for bargains. Sir John carried his management process by wide diversification across national borders.
What did I learn about myself from this article? I am driven to attempt to protect my family, including future generations, from a historical pattern where eventually the spenders in the family overcome the earners and investments suffer. I am not just thinking in terms of securities investments, but also life investments of time, money, and a lot of effort into life activities that are neither personally rewarding nor beneficial to a larger group. This has lead me into attempting to set up some controls to protect members of my family from wasting their opportunities.
Please share with me confidentially what investment DNA you think is driving your current investments.
*Ruth is a long time member of the Life Guards, a support group for Mount Vernon.
** Securities that I either own or are in the financial services fund that I manage or both.


text:
package org.continuity.commons.idpa;

import java.io.IOException;
import java.nio.file.Files;
import java.nio.file.Path;
import java.nio.file.StandardOpenOption;
import java.util.ArrayList;
import java.util.Arrays;
import java.util.HashMap;
import java.util.List;
import java.util.Map;
import java.util.stream.Collectors;

import org.continuity.commons.accesslogs.AbstractAccessLogsConsumer;
import org.continuity.commons.accesslogs.AccessLogEntry;
import org.continuity.idpa.WeakReference;
import org.continuity.idpa.annotation.ApplicationAnnotation;
import org.continuity.idpa.annotation.CsvColumnInput;
import org.continuity.idpa.annotation.CsvInput;
import org.continuity.idpa.annotation.DirectListInput;
import org.continuity.idpa.annotation.EndpointAnnotation;
import org.continuity.idpa.annotation.Input;
import org.continuity.idpa.annotation.ParameterAnnotation;
import org.continuity.idpa.application.Application;
import org.continuity.idpa.application.HttpEndpoint;
import org.continuity.idpa.application.HttpParameter;

/**
 * Extracts an IDPA annotation based on an existing application model and Apache access logs.
 *
 * @author Henning Schulz
 *
 */
public class AnnotationFromAccessLogsExtractor extends AbstractAccessLogsConsumer {

	private static final String PREFIX_INPUT = "Input_";

	private static final String SEPARATOR = ",";

	private static final String FILE_EXT_CSV = ".csv";

	private final Application application;

	private final Path outputDir;

	private ApplicationAnnotation extractedAnnotation;

	private Application filteredApplication;

	private Map<HttpEndpoint, ParameterValueCollector> collectorPerEndpoint = new HashMap<>();

	/**
	 *
	 * @param application
	 *            The application model describing the endpoints and parameters.
	 * @param pathToAccessLogs
	 *            The path to the access logs file.
	 * @param outputDir
	 *            The directory where potentially created CSV files should be stored.
	 */
	public AnnotationFromAccessLogsExtractor(Application application, Path pathToAccessLogs, Path outputDir) {
		super(application, pathToAccessLogs);

		this.application = application;
		this.outputDir = outputDir;
	}

	public void extract() throws IOException {
		consume();
	}

	@Override
	protected void init() {
	}

	@Override
	protected void process(AccessLogEntry logEntry, HttpEndpoint endpoint) {
		getCollectorForEndpoint(endpoint).collectFromPath(logEntry.getPath());
		getCollectorForEndpoint(endpoint).collectFromQueryString(logEntry.getRequestParameters());
	}

	@Override
	protected void finalize() throws IOException {
		collectFilteredApplication();
		collectExtractedAnnotation();
	}

	private ParameterValueCollector getCollectorForEndpoint(HttpEndpoint endpoint) {
		ParameterValueCollector values = collectorPerEndpoint.get(endpoint);

		if (values == null) {
			values = new ParameterValueCollector(endpoint);
			collectorPerEndpoint.put(endpoint, values);
		}

		return values;
	}

	private void collectFilteredApplication() {
		filteredApplication = new Application();
		filteredApplication.setId(application.getId());
		filteredApplication.setVersionOrTimestamp(application.getVersionOrTimestamp());
		filteredApplication.getEndpoints().addAll(collectorPerEndpoint.keySet());
	}

	private void collectExtractedAnnotation() throws IOException {
		extractedAnnotation = new ApplicationAnnotation();

		for (ParameterValueCollector collector : collectorPerEndpoint.values()) {
			EndpointAnnotation endpointAnn = createEndpointAnnotation(collector.getEndpoint());
			Map<HttpParameter, List<String>> valuesPerParam = collector.getValuesPerParam();

			if (valuesPerParam.size() == 1) {
				HttpParameter param = valuesPerParam.keySet().iterator().next();
				collectValuesOfParameter(endpointAnn, param, valuesPerParam.get(param));
			} else if (valuesPerParam.size() > 1) {
				collectValuesOfMultipleParameters(endpointAnn, valuesPerParam);
			}
		}
	}

	private void collectValuesOfParameter(EndpointAnnotation endpointAnn, HttpParameter param, List<String> values) {
		DirectListInput input = new DirectListInput();
		input.setId(PREFIX_INPUT + param.getId());

		List<String> distinctValues = values.stream().distinct().collect(Collectors.toList());

		if (distinctValues.size() == 1) {
			input.setData(distinctValues);
		} else {
			input.setData(values);
		}

		extractedAnnotation.addInput(input);

		createParameterAnnotation(endpointAnn, param, input);
	}

	private void collectValuesOfMultipleParameters(EndpointAnnotation endpointAnn, Map<HttpParameter, List<String>> valuesPerParam) throws IOException {
		String csvFile = createCsvFile(endpointAnn.getAnnotatedEndpoint().getId(), valuesPerParam);
		CsvInput input = new CsvInput();
		input.setFilename(csvFile);
		input.setSeparator(SEPARATOR);
		input.setHeader(true);
		input.setColumns(new ArrayList<>(valuesPerParam.size()));
		extractedAnnotation.addInput(input);

		for (HttpParameter param : valuesPerParam.keySet()) {
			CsvColumnInput colInput = new CsvColumnInput();
			colInput.setId(PREFIX_INPUT + param.getId());
			input.getColumns().add(colInput);
			createParameterAnnotation(endpointAnn, param, colInput);
		}
	}

	private EndpointAnnotation createEndpointAnnotation(HttpEndpoint endpoint) {
		EndpointAnnotation ann = new EndpointAnnotation();
		ann.setAnnotatedEndpoint(WeakReference.create(endpoint));
		extractedAnnotation.getEndpointAnnotations().add(ann);
		return ann;
	}

	private ParameterAnnotation createParameterAnnotation(EndpointAnnotation endpointAnn, HttpParameter param, Input input) {
		ParameterAnnotation paramAnn = new ParameterAnnotation();
		paramAnn.setAnnotatedParameter(WeakReference.create(param));
		paramAnn.setInput(input);
		endpointAnn.addParameterAnnotation(paramAnn);
		return paramAnn;
	}

	private String createCsvFile(String endpointId, Map<HttpParameter, List<String>> valuesPerParam) throws IOException {
		int numRows = valuesPerParam.values().iterator().next().size() + 1;
		int numCols = valuesPerParam.size();
		String[][] matrix = new String[numRows][numCols];

		int col = 0;
		for (HttpParameter param : valuesPerParam.keySet()) {
			matrix[0][col] = param.getId();
			col++;
		}

		col = 0;
		for (List<String> valuesInCol : valuesPerParam.values()) {
			int row = 1;

			for (String value : valuesInCol) {
				matrix[row][col] = value;
				row++;
			}

			col++;
		}

		List<String> csvContent = Arrays.stream(matrix).map(Arrays::stream).map(s -> s.collect(Collectors.joining(SEPARATOR))).collect(Collectors.toList());
		String csvFile = endpointId + FILE_EXT_CSV;

		Files.write(outputDir.resolve(csvFile), csvContent, StandardOpenOption.CREATE);

		return csvFile;
	}

	public ApplicationAnnotation getExtractedAnnotation() {
		return this.extractedAnnotation;
	}

	public Application getFilteredApplication() {
		return filteredApplication;
	}

}

redpajama_set_name: RedPajamaGithub


MASSIVE, sinkhole-like pothole on N Druid Hills Rd eastbound, right lane, immediately before intersection of Briarcliff. Must swerve to avoid pothole and certain vehicle damage.
Small but very deep pothole in northbound, LEFT lane of Piedmont, shortly before Fat Matt's. I hit the hole and thought I damaged my axle, that's how hard it hit. Needs to be filled in ASAP.
The north-south direction duration from green to red is only 6-7 seconds, while east-west seems to be green for at least 2 minutes. Please repair!
Stop sign at corner of Corporate Blvd and Frontage Rd has been knocked down.
The actual bulbs/lights of the traffic signal on Monroe in front of Fire Station 29 are in desperate need of replacement. They are the old type that are nearly impossible to discern colors when it's daylight, I have seen some close calls due to this.
Small pothole on Briarwood Rd *WESTBOUND* in front of house # 1292.
Street sign on corner of Briarwood and Coosawattee is damaged, twisted and bent.
There is a line of large shrubs along Frontage Rd that impedes drivers' view while waiting to make right turn from Corporate Blvd onto Frontage Rd (service road to I-85 SB)...can these hedges be trimmed slightly to afford a better view of oncoming traffic?
Large, deep depression (more of a sinkhole than pothole), located smack dab in the middle of Thornwell, between N Druid Hills and Mathews. Hole must be avoided when driving.
Large tree has overgrown and now hangs low into the traffic lane, Briarwood Rd eastbound, at Keys Crossing. Please trim ASAP!
Directional sign to I75/85 knocked down at intersection of Loop Road and off ramp from I85.
Plate in road has been there for a very long time, cars continuously swerve to avoid, it's a real bad road hazard. Located on Briarwood Road, westbound lane, between Pine Cone Lane and Briarwood Way NE, in front of Briarwood Park.
Appears to be some type of underground piping or manhole cover that has risen above the surface of the roadway, cars must avoid the object, not exactly sure what this is, but please help!