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Dan Jr.
We have years of experience caring for families, from all walks of life. Each family comes to us because they know we are leaders in our profession, dedicated to excellence in service, and have the highest integrity.
Chris Girdner, Funeral Director, Embalmer & General Manager
Chris is a native of Yreka. He attended Yreka Elementary School and graduated from Yreka High School. He attended college at Shasta College in Redding and Butte Jr. College and Chico State University, both in Chico. He is a 1990 graduate from San Francisco College of Mortuary Science in San Francisco.
Chris is President and current Manager, a licensed embalmer and a licensed funeral director (FDR512). He is a member of the California Funeral Directors Association, the Cremation Association of North America and the National Funeral Directors Association.
Chris and his wife, Jackie, have three children, Treyden and his wife, Laurel, Annie and Terah. They also have a grandson, Trevor Jon. They live in Big Springs and love spending time together in the outdoors, especially fishing, hunting and camping. Chris was a founding member of Decision Life Church in Yreka and is a former board member for Madrone Hospice.
Jackie Girdner, Office Manager - PurrFect Paws Pet Crematory
Jackie was born in Klamath Falls, Oregon and raised in Mt. Hebron. She attended schools in Macdoel and Dorris and then went on to attend college in Redding and Chico, CA.
She met Chris at college and they were married in 1989. After living in San Francisco for a year, she and Chris moved back to Yreka to work in the family business. For much of the first years, Jackie raised their two children and stayed at home. Later, when the children were older, she went to work with Chris at the funeral chapel and has been there ever since. Jackie started and currently runs the day-to-day operations for PurrFect Paws Pet Crematory, which opened in March of 2016.
In her personal time, Jackie can be found gardening and spending time outdoors with her animals. She enjoys serving in different organizations that benefit others in the community.
Gregg Girdner, Funeral Counselor
Gregg was born and raised in Yreka. He attended Yreka Elementary School and graduated from Yreka High School. He is a 1983 graduate from Santa Clara University. Gregg worked for 20 years in retail with Payless Drug Stores and Office Depot before returning to Yreka and joining the staff at Girdner Funeral Chapel.
Gregg and his wife, Jeanne have two children, William and Robert. They live in Yreka. In his spare time, Gregg can often be found in his garage where he makes wooden toys and other wood projects.
Robert Girdner, Funeral Director & Licensed Embalmer
Robert is the 4th Generation of the Girdner Family in the funeral business. Rob is the son of Gregg, the nephew of Chris, and Dan Jr.'s grandson. With that said, he has a passion and desire to carry and continue the legacy that his family has established. Though the bar has been set high, Rob is determined to maintain and live up to the Girdner's high standards, demand for perfection, and community involvement.
Rob graduated from Yreka High School in 2007 and achieved his Bachelors of Science in Biology and Environmental Sciences from Santa Clara University in 2011. He then decided to pursue his calling in the family business, and he graduated from American River College of Mortuary Science in 2013. Rob is a licensed Funeral Director (FDR 3631) and a licensed Embalmer (AE 13586).
Rob and his wife, Cicily, married in July of 2013. They welcomed a baby girl (and 5th Generation Funeral Director!), Abigail Grace, in February of 2016. They make their home in Grenada, along with their dog, a blue heeler named Maycee May. Rob and his family enjoy hunting, fishing, backpacking, and being Youth Leaders for their church, Decision Life Church, in Yreka. Rob also serves on the board of United Scholarships, Inc., a position his grandfather held for 51 years.
Treyden Lee Girdner, Office Manager - Girdner's North Country Memorials
Treyden was born in Yreka and attended school in Big Springs and Yreka, graduating from Yreka High School.
After serving over 5 years in the U.S. Navy, Trey came home and went to work in the family business, the 2nd 4th generation Girdner to do so. Trey and Laurel were married in the summer of 2014 and welcomed their 1st child, Trevor Jon, in early 2017. Trey is the office manager for Girdner's North Country Memorials.
Fred Wichmann, Cremation Specialist & Groundskeeper
Fred worked, off and on, for Girdner's for over 20 years. He has retired and we wish he and Eleanor the very best in the coming years!
Trevor Fisher, Apprentice Cremation Specialist and Groundskeeper
Trevor came to work for Girdner's in November of 2017.
Girdner Funeral Chapel: (530) 842-3434
© 2020 Girdner Funeral Chapel - Funeral Home Website Design by funeralOne


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By Jakealoo on February 13, 2018 • ( Leave a comment )
Remembering Private Rene Palmer, 87th Battalion CEF
Rene Palmer and Family. Source: Robert Schutte
Rene Joseph Jacob Palmer (Palmen) was born in Heerlen, Netherlands on January 7, 1890 and immigrated to Canada in 1909. He enlisted with the 132nd Battalion in Chatham, NB on March 10, 1916 and was assigned regimental number 793957. He held the rank of Private throughout his military service.
He sailed with the 132nd Battalion to Britain on October 26 1916 aboard the S.S. Corsican arriving on November 5. One month later he embarked for France to join the 87th (Canadian Grenadier Guards) Battalion of the 11th Brigade, 4th Canadian Division. He was taken on strength by this unit on December 6 1916.
During the build up to Vimy Ridge Private Rene Palmer was briefly attached to the 182nd Tunnelling Company, Royal Engineers. This British tunneling company was one of six that were operating in the Vimy sector for nearly a year. They were involved in the construction of subways in the Zouave Valley and in the laying of underground mines. Palmer returned to the 87th Battalion on April 4.
The early morning hours of Easter Monday April 9 1917 broke with a combination of driving rain, sleet and snow. All four divisions of the Canadian Expeditionary Force were in place including the 11th Brigade which was tasked with capturing the heavily defended and highest point on Vimy Ridge known as Hill 145. Preparations for the assault were meticulous but nevertheless serious errors did occur, including one that resulted in a 100-metre section of German trench being overlooked in a pre-battle artillery bombardment, a trench that stood directly in the path of the 87th Battalion. As Tim Cook described in his book Shock Troops:
"The lead company of Grenadiers was nearly annihilated in only a few minutes, and sixty percent of its men lay dead and wounded within metres of the start line. This was the Somme all over again."
The Canadians finally took control of Hill 145 on the afternoon of April 10, an objective whose significance is reflected in the fact that the Vimy Memorial stands atop this hill today.
Aside from routine entries relating to transfers between units, Rene's Casualty Form – Active Service form also documented that in July 1918 he was granted permission to marry, a wedding that would have to wait until the following a year.
Rene remained on the continent with the 87th Battalion until May 3 1919 when he returned to England. On May 20 he was demobilized but wasted no time making his way to the Susteran, Netherlands where he married Maria Paulina Houben on June 22. Rene returned to Canada that same year with his young bride and started a family in Saint John, New Brunswick. Sadly Rene passed away in 1935, aged only 45 years old.
Categories: Remembrance, Rene Palmer, Soldier-related Posts
Tagged as: 132nd Battalion, 182nd Tunnelling Company, 87th Battalion
2nd Lieutenant F.C. Rodgman, Leicestershire Regiment
Serene and Secluded: Tofino's Morpheus Island Cemetery

redpajama_set_name: RedPajamaCommonCrawl


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Koch Brothers Exposed: 2014 Edition
Billionaires David and Charles Koch have been handed the ability to buy our democracy in the form of giant checks to the House, Senate, and soon, possibly even the Presidency.
Staff ,
BraveNewFilms
The last time we exposed the Koch brothers' dealings to the world, we here at Brave New Films wound up in their crosshairs. They produced online ad campaigns attacking us, but, it takes more than a banner ad to slow us down.
We've reissued Koch Brothers Exposed in an updated version, Koch Brothers Exposed: 2014 Edition, to shine a light on them. We've delved even deeper into where their money is going, who their money is hurting, and how much they are making during this whole process leading up to the 2014 elections.
Two years ago when we made this film very few people knew who the Koch brothers were or what the Koch brothers were doing. But now, we so strongly believe that everyone should know what is happening that with your help and donations we are able to offer the film for free. We want to make sure everyone has an opportunity to see the truth.
Tired of reading the same old news from the same old sources?
So are we! That's why we're on a mission to shake things up and bring you the stories and perspectives that often go untold in mainstream media. But being a radically, unapologetically independent news site isn't easy (or cheap), and we rely on reader donations to keep the lights on.
We have hours left to raise $19,000 and we need your support before time runs out. We're not asking for a handout, we're asking for an investment: Invest in a nonprofit news site that's not afraid to ruffle a few feathers, not afraid to stand up for what's right, and not afraid to tell it like it is.
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On 50th Anniversary of the Vietnam War's End, We Must Not Forget Its Brutality
Omar, Schiff and Swalwell Blast McCarthy for Stripping Them From Committees
Greene Eyes Trump 2024 Ticket After Securing Spots on Key Committees
Virginia Democrats Defeat Glenn Youngkin's 15-Week Abortion Ban
House GOP Is Passing Bills Based on Outright Lies About "Pro-Choice Violence"
Indigenous Women and Femmes Are Winning Fights to Reclaim Land
The new standard "benefits lawmakers who want to hide the truth," one open government advocate said.
Chris Walker ,
The profits report comes just two days after Chevron announced it's tripling its stock buyback budget to $75 billion.
Sharon Zhang ,
The new FDA rules on blood donation will be more gender-inclusive, the agency said.
In an op-ed, the lawmakers wrote that McCarthy's move is nothing more than a "partisan political stunt."
"We have experienced this same kind of violence over and over and over again in our communities," says Amber Sherman.
Amy Goodman ,
Hours After Killing Palestinians in Refugee Camp Raid, Israeli Forces Bomb Gaza
Friday's attack on Gaza could be the first of many to come, Israeli Defense Minister Yoav Gallant suggested.
Jake Johnson ,
CommonDreams
Georgia Governor Declares State of Emergency, Prepped to Deploy National Guard
Critics say Brian Kemp's order is about "trying to instill fear in anyone who stands up against police brutality."
Jessica Corbett ,
The defeat of three anti-abortion bills came just weeks after Democrats won a critical state Senate race.
Greene landed coveted seats on three House committees poised to become echo chambers of the right-wing media.
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Although the war is over, trauma remains for many Vietnamese people, and the fight against imperialism rages on.
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Beckie closed his eyes and shook his head.
Joachim hurried to catch up with Vern.
Del shut off his computer.
Saqib had his licence suspended on the spot after crashing his car into an unmarked police car.
Kari is out of town this week.
He's not coming, according to Stephan.
Jin called Dominick and canceled their date.
David was absolutely miserable when his dog ran away.
I don't think Brodie wants to eat with us.
Ray wanted to buy it.
Edward watched his granddaughters dance.
Nick is putting her face on.
Leora used to sing to me when I was a kid.
I talked to Kevin again.
Ravi doesn't have time to do the laundry.
Andreas has an older sister, Lum, and two younger sisters, but I don't remember their names.
When Elaine was a kid, he used to pretend he was playing the drums by tapping his fingers on the kitchen table, to the great irritation of his father.
Do I need to explain this to Kay?


Also for my Haunted Forest Party!
Oh I can't wait to show you this project! I really, really wanted a cauldron pot to go along with my Witch's Gathering scene that will be going out in our woods. And, I was trying to figure out how I could make one using what I have laying around our house. Most of my Halloween post's dealing with the Haunted Forest Party are made from what I had laying around here, so naturally I wanted my pot to be the same. Let's be real not everyone has $100 of dollars to spend on parties and decorations!
After walking around outside for a couple days looking and looking, I came across my daughter's gigantic beach ball and pool noodles. DING!! Light bulb! The ball could be the pot and the noodles could be the top and bottom ring! Genius! Right? Well….after a couple attempts at it I soon found it's a good idea…just not with a beach ball. Hmmm. Back to square one.
Then there it was. Sitting there with the sun shining on it and angels singing. My daughter's yoga or stability ball that was given to them simply to play with. It took much convincing and negotiating she let me have it. I guess it helps that I ordered her another one…10x bigger too!
Turns out stability balls and pool noodles aren't just for exercise and pool fun! Who knew they would make such an amazing Cauldron Pot!
1-Measure your pool noodle for the top and bottom rings. If need be cut them to the length needed. After you have them the length you need, take your top ring and put the ends together and tape them with together with the gorilla glue tape. Make sure to put enough around so the ends stay together. Repeat with the bottom ring. Once completed place your top ring on the center of your ball and tape down like in picture 1, repeat for the bottom.
2-After step 1 was finished I took my starter pot outside and sprayed it with the ceiling texture, to give it just a little texture. I would allow it to dry a couple hours after adding the texture.
3-Now that our texture is dry go ahead and spray paint it. I used all of both cans of paint to make sure it was well coated and the ceiling texture was coated good. Let dry the rest of the day before moving on to step 4.
4-It's time to add our foaming insulation. This will make it look like it's bubbling over! Make sure to wear gloves as this stuff is super sticky and not fun when all over your hands. Lesson learned for me! Follow instructions on can for getting it ready to use. Once ready, fill in the top of the pot making swirls and such. After the top is filled I started on the rim of the pot, spray side to side as you go down. If this is your first time using expanding foam like it was mine, don't worry you will get the hang of it.
5-This is what it will look like once you have finished adding your foam. I let this set up the rest of the day before moving onto step 6.
6-Time to paint our bubbling bubbles! Using a bright green paint and paintbrush get to painting. It will take a little time to paint so pace yourself or from your elbow to your wrist are going to hurt. Again lesson learned!
How awesome is your Cauldron looking?
Drop your pictures in the comments!
Want more fun Halloween Ideas for parties and decorations? Be sure to check out the Halloween Section under Holiday Crafts on the Home Page.
I love this so creative & it looks amazing! I think I will make this next year!


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« Appel à candidature : « Duchamp Research Stipendium »
Appel à communication : « Persistent Spaces: politics, aesthetics and topography in the eighteenth- and nineteenth-century city » »
Appel à communication : « The Ten Commandments in medieval and early modern culture » (université de Gand, 10-11 avril 2014)
Posté par Pascale Dubus, le 1 juillet 2013:
Date limite : 1er octobre 2013
Date et lieu du colloque : 10-11 Avril 2014, Belgique, université de Gand.
The Department of Literature at Ghent University is pleased to announce that it will host an international conference on the Ten Commandments in medieval and early modern culture on April 10-11, 2014. We kindly invite paper proposals exploring this theme from any field of medieval and early modern studies. Selected papers will be published in a volume to be included in the peer-reviewed series Intersections. Interdisciplinary Studies in Early Modern Culture (Brill Publishers).
The rise to prominence of the Ten Commandments dates back to the 12th century. In that period exegetes such as Hugh of Saint Victor emphasized the importance of the Decalogue as a list of moral principles. A century later the Ten Commandments permeated scholastic learning as well as catechetical teaching. They became a useful instrument for the examination of conscience in preparation for the mandatory annual confession introduced by the Fourth Lateran Council (1215). By the second half of the 15th century, the Commandments were omnipresent in religious culture. Their diverse textual and visual manifestations were found in a variety of media, from manuscripts and printed books, to wall paintings and wooden panels. The prominence of the Decalogue continued amongst the Protestants, albeit with a different emphasis than in Catholic teaching. The heterogeneity of the preserved Decalogue material inspires numerous research questions, many of which are vital and yet largely unexplored. It also poses methodological challenges to scholars who seek to explore and understand the role of the Ten Commandments within a broader context of medieval and early modern culture.
Bearing this in mind, we would like to invite papers that elaborate on various aspects of textual – both Latin and vernacular – and visual manifestations of the Decalogue in the Middle Ages and the Early Modern period. It is particularly important that the proposed papers put emphasis on the broader cultural context in which the Decalogue functioned, as well as on the methodological and theoretical aspects of the discussed piece of research. Possible topics include, but are not limited to :
• The relationship (or lack of it) between scholastic and vernacular writings on the Ten Commandments. Recent research has shown that some vernacular writings on the Ten Commandments contain elaborate theological content. Which themes found their way from academic to vernacular theology ? Were there independent developments within the vernacular writings on the Decalogue ? In which milieus were the 'learned' vernacular treatises written and what was their audience ?
• The Ten Commandments in various textual genres. The typological diversity of writings on the Decalogue is astonishing. These Old Testament tenets were explored in scholastic summae, catechetical mirrors and sermons, put into simple rhymes, combined with images and even interwoven into stage plays. How did different genres treat the Commandments ? Was there any genre-specific emphasis on certain aspects of the exegesis of the Decalogue ?
• The Ten Commandments in visual arts. The act of breaking or obeying the precepts was depicted in diverse media. Did the iconography and/or function of the Ten Commandments scenes change depending on the medium ? Did the Reformation and Counter-Reformation affect the iconography of the Decalogue-scenes ?
• The Decalogue in medieval and early modern popular culture. The Ten Commandments, like other tenets, penetrated popular (religious) culture. How did the abundantly preserved Decalogue rhymes, some of which could in fact be sung, and cheap prints containing a combination of text and image function ? Who used them ?
• The Ten Commandments in early modern theology. The Decalogue played a vital role in Protestant theology. Did the reformers postulate any major shifts in the interpretation of the Old Testament precepts ? If so, did it cause any reaction by the catholic theologians ?
Papers should be given in English and should be 20-25 minutes long. Please submit an abstract (max. 300 words) accompanied by a brief CV before October 1, 2013 by e-mail to Marta Bigus (marta.bigus@ugent.be).
Successful applicants will be notified by November 1, 2013.
Appels à communication Iconographie, Moyen-Âge, Renaissance


Since Kanan started losing his hair about two and half weeks ago, he has also started showing me more and more of his personality as his milestones are helping him communicate more. He has gained much more control of his hands lately and while I already discovered a month ago that he really loves his satin blanket (I call it his silky, Mike calls it his softy) Kanan most recently showed that not only does he like to cuddle with it when he falls asleep, he also likes to put it over his head, I'm assuming to block out the light, which he finds very distracting at nap time. About three days ago, Kanan made it clear that he did not want to be swaddled for his afternoon nap. I was having a hard time getting him to relax enough to fall asleep that I thought maybe his Silky would help. He cuddled with it, pulled it over his head and passed out. When I pulled it off his head in fear he would suffocate, he whined and pulled it back over his head. So I let him do it and just periodically peak into his crib and make sure he is getting enough air under the blanket by lifting an edge up and tucking it over the top of his crib bumper. His Grammy Joella and his father both wear sunglasses until dusk because they are so sensitive to the sunlight. Looks like Kanan got that gene as well. I'm going to get some black out curtains for his room I think, so the little balding boy can relax a little easier without creating fear in his Mama.
awh…. he LOOKS like such a Webb! Just like the baby photos of Mike!


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The photoionization detector module PIM XCA is an OEM module to detect volatile organic compounds with an ionization potential < 10.6eV. With its electronics and microcontroller as well as with the combined humidity/temperature sensor, it provides a flexible and easy to use adaptation into the target measurement system. The module comes with a built in linearization and temperature/humidity compensation and a full digital interface.
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HOME	BACOLOD	BAGUIO	CAGAYAN DE ORO	CEBU	DAVAO	DUMAGUETE	ILOILO	MANILA	PAMPANGA	PANGASINAN	TACLOBAN	ZAMBOANGA
Lidasan: Understanding the complex situation in Marawi
MUSSOLINI SINSUAT LIDASAN
IT WAS reported in the news recently that while other children dream of becoming professional teachers, lawyers, and doctors, some young evacuees from war-torn Marawi City want to be part of international terrorist network of Isis.
According to Philippine Sports Commission (PSC) Chairman William "Butch" Ramirez, "Pangarap po namin maging Isis (Our dream is to become an Isis member)." This was reported to him when he and a group of coaches from PSC went to an evacuation center in Iligan City to conduct psychosocial intervention.
When Chairman Butch asked why some kids want to join Isis, they said, "Nagbibigay sila ng pagkain, eh. 'Saka 'yung aming mga tatay binibigyan nila ng suweldo (They are giving us food. They give salaries to our fathers)." He added, "Our government should be alarmed that some Marawi children are feeling love from the terrorists, and neglect from the government."
My immediate reaction when I heard this news was not really of a surprise. I could say that the report about these children, looking at Maute and Isis as their heroes, shows the direct link between armed conflict, human and food security, and local politics. We know that conflict has many interrelated and mutual dependencies such as these situations, which clearly illustrates the complexities of what we are dealing with in Marawi City.
What is the current mindset of most people in Marawi?
Let us try to read the human terrain of Marawi City. Like most Moro communities and municipalities, Marawi has its share of problems of "rido" or clan feud. In a book entitled, Rido: Clan Feuding and Conflict Management in Mindanao, rido is defined as "a type of conflict characterized by sporadic outbursts of retaliatory violence between families and kinship groups as well as between communities.
It can occur in areas where government or a central authority is weak and in areas where there is a perceived lack of justice and security". Many armed confrontations in the past involving insurgent groups and the military were triggered by a local rido."
Aside from rido, we also hear about the problem of misplaced "maratabat" mindset among the different ruling clans, narco-politics in Lanaodel Sur and in the City of Marawi. According to Nainobai Disomangcop, professor from Mindanao State University-Main Campus, "the Maranaos are traditional people whose rich cultural practices continue to perplex even social scientists. Their resistance to change is seen not only in their slow modernization process, but also their continued faithfulness to customs and beliefs." The concept of "maratabat" has its roots from the ancient caste system of Hinduism.
Dr. Disomancop also claimed that the Maranaw Maratabat is equated with "hiya" or shame, honor and dignity, rank, self-esteem or "amor-propio," reputation and "face. There is no single word or phrase that can clearly define maratabat, for the Maranaos have surrounded it with many socio-psychological concepts of their own. It is directly proportional to a person's social rank. One social scientist views it as a blind, irrational pride of clan and tribe and a deep sense of personal honor and face. The substance of maratabat lies in the symbols, shared beliefs, images in the collective reputation, and in public morality of the Maranaos. When positively directed, it gives them unity, strength, and identity; it serves as a driving force in Maranao everyday life, be it social, political, or economic."
Historically, there is also the story of the Battle of Bayang or the Karbala in Bayang, Lanao where hundreds of noble Maranao datus were martyred in defense of their homeland and Islam against the American colonizers on May 2 to 3, 1902, which started the Moro-American War. During those times, there was no Lanao del Sur nor Lanao province, but only the Pat a Pangampong sa Ranao. The battle was described as Padang Karbala, or Karbala Plains, in memory of Karbala in Iraq where the grandson of Prophet Muhammad (SAW) and about a hundred of his relatives, followers and supporters were killed as they fought against the tyrant rulers in the Hijaz. Most Maranaws believed that the Battle of Bayang in Padang Karbala has originated a patriotic monument in the heart and soul of every Maranaw of any generation. It remains a guiding spirit in the defense of the homeland and in the fight for self-determination and freedom.
The occurrence of rido shows the human insecurity in the area, where people take matters in to their own hands, This shows a lack of trust to the present government systems ingrained within the Maranaw culture, In fact, clans and family relations are more important to them than the Filipino nation. The Moro identity, on the other hand, shows the struggle in identity of these people, a clear distinction from the Filipino setup, making them feel like they don't belong to the Filipino nation. Lastly, the historical injustices like that of the Battle of Bayang is a legitimate grievance that still needs to be addressed.
All of these - human security, problem with identity, and delay of correction of historical injustice, is the perfect formula for people to lean towards violent extremism, and view extremists as heroes that is fighting for what is rightfully theirs.
For a comprehensive and effective approach in to the Marawi situation, our government needs to understand the terrain within the moro communities. They need to decipher and understand tribal structures, formal and non formal structures, and explain cultural differences from Islamic views (religious/theology), in order to relate and therefore create a far more effective solution to present problems.
Lastly, I would also recommend to see the situation from a millenial Maranaw perspective and gradually, cut down on combat operations. The aim here is to empower their local leaders and to improve the performance of local government officials, persuade local datus to work for common good, ease poverty and protect not only their families but also their communities.
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Why The Streets's Original Pirate Material Still Matters, 15 Years On
11 artists and fans explain the lasting impact of U.K. artist Mike Skinner's debut album.
By Owen Myers
On March 25, The Streets's debut album Original Pirate Material celebrates its 15th anniversary. In the years since its release in 2002, many U.K. music fans will have bopped along to "Don't Mug Yourself" at a summer festival, or had a teary moment at the end of the night to soaring house tribute "Weak Become Heroes." But the album's appeal has never been confined to Britain — Mike Skinner's distinctive combination of street poetics and U.K. garage beats made the record a cult favorite with fans worldwide. One and a half decades after the record's initial release, 11 artists, writers, and FADER staffers explain why Original Pirate Material still feels so unique.
1. Lady Leshurr, artist
I once made a mixtape called LDAY (2010), and Mike Skinner inspired the whole tape. That was my first time experimenting with storytelling, and he really influenced me to try something new and out of my comfort zone. It's still one of the best mixtapes I've released, in my opinion. [Skinner] always will be a legend in my eyes. Especially coming from [my hometown] Birmingham where we've always been mocked because of our accent. He was the first MC from up north to pave the way for the rest of the Brummy MCs that came after him. He used his real accent — the way he rapped was special because it was basically just talking on the track. Like spoken word with an instrumental. Genius.
2. Julianne Escobedo Shepherd, journalist
Young pop music in the U.S. revelled in excess in 2002, grappling with existential dread in the aftermath of 9/11 by diving full-hog into apocalyptic party-animalia. Everything sounded hard, whether the sex-fueled abandon of the art-rock band Yeah Yeah Yeahs or the diamond-cutting precision of the futuristic rap duo Clipse. Perhaps obviously, it seemed like a lot of people were really into cocaine.
Original Pirate Material dropped in mid-fete and changed the tenor a bit, or at least injected a reason to take a pause and regroup. I remember it rippling through U.S. music circles like a secret at first, and, for me, its prosaic nature was a bit confusing; U.K. garage wasn't supposed to be this soft, and if stateside rap regionalism still drew fiercely territorial lines between East and West, North and South, you can imagine about how warmly U.S. hip-hop fans at that time took to MCs with regional British accents. Mike Skinner's geezer charm and earnestness shone through, though, and if anything it had a deeply calming, meditative quality to it that I remember needing desperately at the time. In retrospect, its fusion of styles — 2-step/garage, dub, jungle, grime, house, and hip-hop — was prescient. (Whither Drake?) Most importantly for me, though, The Streets was the gesso on the canvas that would, just a couple of months later, be completely splatter-painted and sliced to shreds by Dizzee Rascal's "I Luv U," a song aflame with wholly unfamiliar, east London road slang and whose Slinky-in-revolt riddim completely changed the way I think about music. For that important prep — without Mike Skinner, I don't think I wouldn't have been ready — I'll be forever grateful.
3. Jammer, artist
[In the early '00s] a lot of people in the garage scene didn't really like the broken-down version of the music that we were making [in early grime collective N.A.S.T.Y. Crew]. Only really [iconic garage rave] Sidewinder and a few others were letting us get on the end of sets at the raves. Grime emerged because we weren't really a part of garage. Garage was the club-driven beat music before grime in the U.K. — but Original Pirate Material showed a change in that. A lot of sounds and ways of putting records together were taken from that Mike Skinner album; everyone was inspired by it and took pieces from it. The things he was saying like, "Keep my dogs fed/ All jungle all garage heads/ Gold teeth, Valentinos and dreads" — it was like, Yo who is this guy? He was telling us a story we wanted to know more about.
It's one of the U.K. blueprint albums. That album could never be created again, that's why we are talking about it now. It's funny: Mike said to me one time at a party that I was a big inspiration to him. I love the fact that he is still seeking inspiration from the people that seek inspiration from him. (As told to Jacob Roy.)
4. Owen Myers, The FADER
At my high school in the London suburbs, it mattered which album you had on your Discman in 2002: the slice-of-life narratives of The Streets's Original Pirate Material, or the wry, quasi-Wildean observations of U.K. indie phenomenon The Libertines's Up The Bracket. Both albums grappled with what Britishness meant at the turn of the millennium, but while The Libertines's frontman Pete Doherty sang, tongue in cheek, "There are fewer more distressing sights than that/ Of an Englishman in a baseball cap," Skinner shaded the stories of Englishmen with the nuance they deserved, whether they were puffed-up with pride, or had fallen on hard times with "a wounded soldier stance." At a time when U.K. prime minister Tony Blair's introduction of anti-social behaviour orders (ASBOs) in 1998 had further stigmatised lower income families, Original Pirate Material's empathetic narratives of working class life were a crucial counterpoint.
The Streets also teased out a strain of British music history that wasn't being documented elsewhere. The idols described on Original Pirate Material include folks like U.K. house DJs Paul Oakenfold and Danny Rampling, who helped define U.K. rave culture between the years of 1988 to 1994, when the British government made it illegal for ten or more people to gather on public property and listen to "repetitive beats." Skinner took those rave-era acid house and jungle sounds and tethered them to the music genres which were soundtracking London's underground of the early '00s: garage, hip-hop, and chilly bass frequencies that we'd now call grime (Wiley's "Eskimo" white label dropped four months after Original Pirate Material). Skinner was connected to east London's pirate radio scene at the time, and distributed white label vinyl copies of "Has It Come To This?" to those stations back in 2001. When he cracked the U.K. Top 10 with Original Pirate Material the following year, paying tribute to those FM dials with its title, it wasn't just a statement that Skinner and his community were here — it was that they always had been.
5. Annie Mac, DJ and broadcaster
I first heard "Has It Come To This?" on Ross Allen's radio show on BBC London. It was late on a Sunday night, in my bedroom in the house I shared with my brother's band in Forest Gate, east London. I had never heard anything like it. His references were instantly recognizable — the mundane everyday issues of public transport, cheap drugs, fast food, and hangovers. There was no self aggrandizing, just brilliant phonetical descriptions of street life and culture. And it is hilarious in parts — the characters we meet and the pictures painted are so vivid.
Last year, we did a discussion feature for my radio show on BBC Radio 1 with Laurie from Slaves, Matty from The 1975, and Little Simz. All of them cited Mike Skinner as one of their biggest influences. The album is a bona fide classic, and it's still reverberating through popular music and influencing our U.K. artists left right and center.
6. Rob Mitchum, journalist
In 2002, the nuances of British electronic and hip-hop culture went way over your typical American music critic's head — which is my lame excuse for wildly misinterpreting Original Pirate Material when reviewing the album for Pitchfork that year. Since then we've had grime and dubstep to put U.K. garage in retrospective context. But I was pleased to discover Original Pirate Material still sounds bonkers 15 years later. Tracks like "Don't Mug Yourself" and "Sharp Darts" are like head-on car collisions that somehow build a motorcycle — there's no way these combinations of beat and flow should work, but they do. Mike Skinner was also ridiculously adept at mixing the grand and the mundane, with severe, ragged orchestra loops scoring the most minute of observations. "Weak Become Heroes" might still be the most accurate song about raves in existence, with a woozy pulse, a relentless, wavy piano loop, and stream-of-consciousness imagery detailed enough to trigger flashbacks. Call it first-timer luck or genius, but The Streets's sound aged a lot better than its genre labels and clueless reviewers.
7. Ruth Saxelby, The FADER
I was 22 when Original Pirate Material came out, less than a year younger than its creator, Mike Skinner. The world he spoke-sang of in that pensive, blunt tone of his was one I recognised from my college years in the sweat-lined clubs of Leeds. "The night slowly fades and goes slow motion/ All the commotion becomes floating emotions," he riffed over the piano house loop of "Weak Become Heroes." The sheer thrill of being seen like that had me immediately enamoured.
At the time, Britain was deep in the era of superstar DJs and superclubs. Dance music's staunchly counterculture status had started to crack under the weight of capitalism's greedy paws. Record stores were filled with compilation CDs for every club-related situation, invariably decorated in garish illustrations of a glam girl-about-town or a moody shot of an upside down light bulb.
Skinner had no time for such flattened ideas of nightlife. His songs celebrated the spectrum of intimate, transient feelings that come from dancing in a room full of strangers, connected in unspoken agreement: We're in this moment together. That sensation was set in motion by the ascending strings of album opener "Turn The Page," which read like the warm rush of coming up on ecstasy. There was also "Has It Come To This?" with its homespun take on the skippy 2-step garage that had been dominating the charts, the almost-funeral march of "Stay Positive" with its wise-beyond-its-years narrative, and the mournful "It's Too Late," which no doubt soundtracked many a regret-soaked comedown.
I was always more interested in Skinner's rave ballads than his lad anthems, layered and poetic though they are. I appreciated the wink in his delivery, but they weren't made for me: they were geared towards a generation of young men battling within the rigid limitations of masculinity. On later albums, he would immerse himself more fully in that demographic, and I couldn't help feeling a little abandoned. I missed the tenderness and curiosity of the shiny eyed kid savoring visions of a fleeting utopia.
8. Kojey Radical, artist
I remember hearing [Original Pirate Material] for the first time and thinking, This feels like the perfect medium between garage culture and indie music. It was like the perfect soundtrack for not knowing what you want to listen to. Hearing "Stay Positive" in [2006 U.K. film] Kidulthood confirmed it was the soundtrack for growing up in London and marrying all the cultures that you come across. I'm from east London and the way [Skinner] spoke reminded me of just going to a cafe on Roman Road and speaking with the people there. Lyrical rap can feel daunting, but Mike Skinner's approach removed all that tension in understanding lyrics, and made it sound like a conversation. (As told to Jacob Roy.)
9. Aimee Cliff, The FADER
In his FADER cover story in 2015, Skepta accurately observed, "England is so plain, like a burger with nothing on it. That's why it's so real." Growing up in the middle of the country, I knew what he meant. By the time he made Original Pirate Material in 2002, Mike Skinner had moved away from his home in the Midlands — but his Birmingham accent narrating a "day in the life of a geezer" resonated with my small-town teenage existence of drinking cider at the same pubs and houses, going to the same crap clubs, and eating the same take-out food week in, week out. Skinner saw people living on benefits, sloping over the same bars, and parking themselves in the same spots on their sofas throughout the U.K., and made them feel that English working class living, in all its plainness, was worth documenting.
10. Amos Barshad, The FADER
"I make bangers, not anthems/ Leave that to the Artful Dodger." It's a wonky line: a couplet that doesn't rhyme; a boast that sounds like self-deprecation. And fifteen years later, I still have barely any idea what it means. But that hasn't stopped it pinging around my head all the same for all these years. That, I think, is the sharpness of Mike Skinner's descriptions. Along with the most of the music-loving world, I was raised on the belief that U.S. hip-hop was unassailably superior. But by some confluence of influence and individuality, Skinner was not beholden to American Rap Imperialism. Instead, he let his natural speaking voice flourish. And the end result is that bits of his back catalog flit around my head, over and over — uninvited, but plenty welcome — still.
11. Clare Maguire, artist
He was from Birmingham as well [as I am] so the album really resonated with me. He spoke like the everyday man, which was what my Dad was like. The sounds he was using in the production were like what you'd hear walking through Birmingham — garage music that sounded like people had made it in their bedrooms.
His lyrics spoke to me and my friends at the time, when we were 15 or 16. Our nightlife was around places like [chain pub] Wetherspoons. Every Friday night was the same, every day was the same. "Stay Positive" described it really well — how the way of getting through life is, you have a drink on a Friday night, you see your mates, and then you both go back to work. You just carry on.
He was an icon for me, so when I was told by my manager that I was going to go in a session with him [to record vocals for The Streets's 2011 track "Lock the Locks"], I was so nervous. But he was fun — exactly the character that he is in his videos. He started speaking to me about growing up where I did and coming into the music industry. It was the first time I'd talked with somebody who understood the levels that your mind has to go through to escape from that kind of mindset into a totally different mindset. There's a real intensity in what he does, even the simplest things. I think that's what makes him a great writer.
Electronic, The Streets
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Wells Project
Wells Dam is located at river mile 515.6 on the Columbia River in the state of Washington. This location is approximately 30 river miles downstream from Chief Joseph Dam, owned and operated by the United States Army Corps of Engineers, and 42 miles upstream from Rocky Reach Dam, owned and operated by Chelan County PUD. The nearest town is Pateros, Washington, which is located approximately 8 miles upstream from Wells Dam. The Wells Project is the primary generating resource for Douglas PUD. It includes ten generating units with an installed nameplate capacity of 774,300 kW (774.3 MW) and a peaking capacity of approximately 840 MW. The design of the Wells Project is unique in that the generating units, spillways, switchyard and fish passage facilities are combined into a single structure referred to as the hydrocombine.
Construction of the project began in the fall of 1963 and commercial operation began on September 1, 1967. The initial design and license for the project called for the construction of seven turbine generating units. On February 2, 1965, the Federal Power Commission (predecessor to the Federal Energy Regulatory Commission FERC) approved an application to amend the original license to include three additional generating units. The three additional units began commercial operation on January 24, 1969.
In 1963, Douglas PUD entered into power sales contracts with four power purchasers to sell 62% of the output from the Wells Project through August 31, 2018 at cost. These purchasers are Puget Sound Energy, Inc. (31.3%), Portland General Electric Company (20.3%), PacifiCorp (6.9%), and Avista Corporation (3.5%). Douglas PUD also entered into a power sales contract with Okanogan PUD in 1963 for up to 8% of Wells Project output from Douglas PUD's share through August 31, 2018. Additionally, Douglas PUD entered into a Settlement Agreement and a Power Sales Contract with the Confederated Tribes of the Colville Reservation on November 1, 2004 which FERC approved on February 11, 2005. Based on the terms of the Power Sales Contract, the tribe is entitled to purchase 4.5% of the Wells Project output through August 31, 2018 and 5.5% of the Wells Project output beginning September 1, 2018. The 4.5% of Wells Project output through August 31, 2018 proportionally reduces power available to the four power purchasers, Douglas PUD and Okanogan PUD.
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Arbitration ALTA 1987, 1990 and 1992 Policies Under $1 Million
All Issuing Offices, All National Claims Counsel and All Field Customer Service Representatives
Dear Associates:
When arbitration is expressly provided for in a title insurance policy, it is the preference of Stewart Title Guaranty Company to use this method of claims resolution versus litigating the matter, except in instances expressly approved by our General Counsel, Chief Claims Counsel, or Marietta Maxfield, Special Counsel. Please so advise all outside legal counsel before they are employed to work on any new claims, so that they preserve all our rights of arbitration. The use of arbitration is a decision which should be reached quickly after receiving a claim on a title insurance policy so that rights to arbitrate are not waived or diminished. We believe that arbitration serves the consumer well in providing a quick resolution to coverage disputes.
Unless deleted by endorsement, binding arbitration is expressly provided for as a claims resolution method in Stewart policies issued in the ALTA format since June 1, 1987. The 1992 Florida policies have modified the clause to authorize binding arbitration only by agreement of the parties after the dispute has occurred. In Texas, rules are promulgated that regulate the deletion of arbitration provisions. By its terms, the policy arbitration clause applies only to those policies in amounts under $1 million dollars, and is enforceable only in those states with statutes that allow insurer-insured disputes over policy claims to be arbitrated.
Thank you for your attention to arbitration.


With the release of new album Matters, Brighton-based outfit Fröst have reached a particular milestone on their continuing musical journey into transcendental pop.
Consisting of French-Swedish sound artist Johanna Bramli (vocalist for Stereolab offshoot Imitation Electric Piano) and Fujiya & Miyagi's synth player and producer Steve Lewis, Fröst have been on the radar since 2016 with the release of first single 'Crackling on the Wire'. With its combination of stark percussion and ethereal vocals, this debut release was also a track that radiated style as well as an urgent, raw energy. Fröst also made an impact critically at the time, picking up coverage from the likes of Virgin Radio. Annie Mac, The Line of Best Fit and BBC 6 Music.
The component parts of Fröst provide a worthy pedigree to kick off with, but the arrival off their debut album Matters opens up more scope for the pair to explore this intriguing alchemy. Threaded throughout the record is a variety of broad influences, including Silver Apples, Gazelle Twin, Fever Ray and Laurie Anderson. Resident Advisor summed up Fröst fairly succinctly: "Like Broadcast fronting motorik band Neu!", which isn't a bad way to get a handle on where Fröst are coming from (the duo have also compiled a handy Spotify list).
'Record Still Spinning', which opens the album, has a breathy, alluring quality to it. Its insistent motorik beats give the track an earthy foundation, while Johanna Bramli's vocals have a siren-like draw to them.
Matters features a collection of tracks that offer an easy transition between French and English lyrics, evidenced by the gentle pop of 'Éternelle'. That Gallic charm continues on tracks such as 'La Vénus d'Argent' with its bossanova beats and stripped-down vocal delivery.
Meanwhile, 'Keratin' (which had been one of Fröst's early single releases) has an engaging pop quality that seems reminiscent of the likes of Au Revoir Simone or Pixx. There's some lush synth work here on a number that has a very tight arrangement under the deft hand of Steve Lewis.
The album slips into more glitchy territory for 'Delta Antenna' with its murky synthetic soundscapes and insistent beats. But Matters also throws out contrasting compositions, such as the glacial pop of 'Black Mountain' which has hints of early Goldfrapp.
The fractured electronic collage of 'Materials' (also the longest track on the album) presents a kaleidoscope of musical elements. Bramli's whispery voice floats through this elaborate fugue with hypnotising elegance.
'Trail Away', the closing track on Matters, delivers a warm, evocative slice of synth delights. It's a fine composition to close proceedings with.
As an album, Matters presents sumptuous glacial electropop that oozes elegance and style, with a touch of the Düsseldorf school for good measure. If you've not had the luck to stumble on Fröst previously, this album provides the perfect introduction.
Matters is out today on Lost Room Records.


CHAPTER VII FLUSHING—PENRYN AND THE KILLIGREW LADIES—MYLOR—ST. JUST-IN-ROSELAND—RESTRONGUET CREEK, DEVORAN AND ST. FEOCK—KING HARRY PASSAGE—RUAN CREEK—MALPAS—TRESILIAN CREEK AND THE SURRENDER OF THE CORNISH ARMY.
CHAPTER IX MAWNAN—HELFORD RIVER—MAWGAN-IN-MENEAGE—MANACCAN—ST. ANTHONY IN ROSELAND—THE MANACLES ROCKS—WRECK OF THE "MOHEGAN"—ST. KEVERNE.
CHAPTER X COVERACK COVE—POLTESCO—RUAN MINOR—CADGWITH COVE—THE "DEVIL'S FRYING-PAN"—DOLOR HUGO—CHURCH COVE—LANDEWEDNACK—LIZARD TOWN—RUAN MAJOR—THE LIZARD LIGHTHOUSE.
CHAPTER XI KYNANCE COVE—ASPARAGUS ISLAND—THE DEVIL'S POST-OFFICE—SIGNPOSTS—GUE GRAZE—MULLION COVE—WRECK OF THE "JONKHEER"—MARY MUNDY AND THE "OLD INN"
CHAPTER XII POLDHU AND THE MARCONI STATION—MODERN CORNWALL—GUNWALLOE—THE "DOLLAR WRECK"—WRECK OF THE "BRANKELOW"—WRECKS OF THE "SUSAN AND REBECCA" AND OF H.M.S. "ANSON"—LOE BAR AND POOL—HELSTON AND ITS "FURRY"—PORTHLEVEN—BREAGE—WRECK OF THE "NOISIEL"—PENGERSICK CASTLE.
CHAPTER XIV PENZANCE—NEWLYN AND THE "NEWLYN SCHOOL"—PAUL—DOLLY PENTREATH—MOUSEHOLE—LAMORNA—TREWOOFE AND THE LEVELIS FAMILY—BOLEIT—THE "MERRY MAIDENS"—PENBERTH COVE.
CHAPTER XV THE LOGAN ROCK AND ITS STORY—PORTHCURNO AND THE TELEGRAPH STATION—ST. LEVAN—PORTH GWARRA—TOL-PEDN-PENWITH—CHAIR LADDER—LAND'S END.
CHAPTER XVI THE LAND'S END DISTRICT—ST. BURYAN—SENNEN—LAND'S END—THE LONGSHIPS LIGHTHOUSE.
CHAPTER XVII THE SCILLY ISLANDS—FLOWER-FARMING—THE INHABITED ISLANDS—ST. MARY'S—STAR CASTLE—SAMSON AND "ARMOREL OF LYONESSE"—SIR CLOUDESLEY SHOVEL—TRESCO—THE SEA-BIRDS.
The Ingoldsby Country Literary Landmarks of the "Ingoldsby Legends"


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The River System
The Main River
Fishing on the River
About Ballisodare Fishing Club
Historically the Ballisodare River was never known as a salmon river and records in relation to salmon catches prior to 1850 would indicate that less than 20 salmon were caught in the river system in any year. The simple reason for this was that salmon had to negotiate a waterfall in excess of twenty feet high right at the mouth of the river to reach the lower stretches of the river, and a further set of falls at Collooney barred their passage to the Owenmore River.
The fishing rights were originally owned by the Crofton family but were purchased by Edward Joshua Cooper around 1806. The Cooper family had extensive land holdings in the Collooney/Ballisodare Area and more importantly were members of Parliament in London from time to time.
On June 30th 1837 the London Parliament passed an Act to enable Edward Joshua Cooper "to establish and protect a salmon fishery upon the lakes and rivers of Owenmore and Arrow and also within the bay of Ballisodare in the Count of Sligo in Ireland".
The Act known as the "Cooper Act" allowed for the construction of a salmon ladder and the purchase of any other existing fishing rights and it gave the sole and exclusive fishing rights to the Cooper family for salmon and all sea going fish, including eels and sea trout.
The salmon ladder at the Ballisodare falls was completed in 1852 and was the first of its type in Europe. This allowed salmon to access the upper reaches of the system on the Lough Arrow side. The numbers of salmon caught started to rise as salmon began to spawn in the streams and returning numbers steadily increased.
In 1854 just 179 salmon were caught but by 1859 that number had risen to 2,000 and by 1863 the numbers caught had risen to 6,000 salmon.
Two significant additions were made to the system which further increased the returning numbers and which helped to develop the fishery into a significant commercial business.
A second salmon ladder was constructed at the Collooney falls including a resting pool and this allowed salmon to access the Owenmore system right up to the spawning beds in the Ox Mountains beyond Coolaney. The streams in this area where the Owenmore rises are located within a few hundred meters of similar streams that are the feeder streams for the River Moy, another prolific salmon river.
The second significant addition was the construction of a salmon hatchery in 1883 and brood salmon were brought from the Tay in Scotland, the Edne in Norway and the Rhine in Germany. The hatchlings were brought to spawning beds at the extremity of the system in an attempt to further increase the returning shoals of salmon through the spring and summer. It has been claimed that the most successful brood stock were those taken from the Rhine.
By the end of the 19th Century annual catches in excess of 10,000 fish were the norm making the fishery a considerable commercial success. Ice from the North Atlantic was brought to Sligo and packed into caves or "ice houses" in the Ballisodare area. As the season progressed between May and September each year, peaking in June/July, salmon were netted on the tide. The salmon were then packed into long timber boxes with rope handles, three fish per box, lying on a bed of ice and topped with more ice before being closed. The boxes of fish were brought to the train station and transported to Dublin, and from there by ship to England arriving at the London fish market within 24 hours of being caught.
This successful business continued well into the twentieth century. The Fishery went into decline from the 1950's due to a variety of reasons and was eventually sold to Ballisodare Fishing Club, the current owners, in the mid 1990's.
The fishery by that stage was considerably run down and in need of restoration. Fish returns had declines considerably and many of the spawning beds were no longer operating. Two hydro-electric generating schemes were also now operating in the river system and conflicted in some ways with the operation of a fishery.
Considerable works have been undertaken in the last two decades by Ballisodare Fishing Club to upgrade the fishery in order to provide high quality salmon fishing for local anglers and tourists alike. This undoubtedly has been achieved with fishermen taking up to 2,000 and more salmon each year by rod and line methods.
These catches are mainly taken in the Ballisodare area, on safe beats both above and below "The Falls" at the river mouth. This high quality sport fishing is enjoyed by fishermen from all over Ireland, England, Scotland, Wales and many continental countries.
Fishing further up river has not been developed to date given that significant investment was required to restore the fishery to its original highly productive state. It is now acknowledged that the numbers of salmon returning have significantly increased.
Working with Inland Fisheries Ireland, an electronic counter has been installed in the ladders at the lower falls and gives an accurate count of all fish that get up into the system. The figures have increased steadily with recent counts of over 13,000 salmon going up into the system in one season. It is also clear from the counts that Ballisodare is one of very few North Atlantic salmon fisheries to record increased returns in the last decade, which reflects favourably on the considerable efforts of the Club, its board of directors and the fishery staff.
Fishery Re-Opens
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Phone: (0)71 913 0513
We are located in Ballisodare, County Sligo. Ballisodare is just a 10 minute drive from Sligo Town
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M-mode ultrasound imaging (US) reflects motion of connective tissue within muscles. As muscle contraction is accompanied by motion of muscle tissue, M-mode US may be used to measure non-invasively the onset of deep muscle activity. Isometric hip abduction was measured on nine healthy subjects in the deep region of the gluteus medius muscle and in gluteus minimus by fine-wire electromyography (EMG) and M-mode US. Following signal transformation with the Teager-Kaiser Energy Operator, EMG and M-mode US onsets of muscle activity were computer-processed. Correlation between log-transformed EMG and M-mode high-energy onsets was higher in gluteus medius (r 0.93) than in gluteus minimus (r 0.86). M-mode high-energy onsets followed EMG onset by median 33 (IQR 53) ms in gluteus medius, and by 17 (IQR 63) ms in gluteus minimus. 4% of gluteus medius and 23% of gluteus minimus M-mode onsets were detected before EMG onset. Using a higher onset threshold reduced the rate of onsets detected before EMG but also prediction accuracy. In voluntary activation, M-mode US high-energy onsets were closely related to EMG-measured onsets, but the time interval between both measures varied. The relationship of electrical and mechanical activation onsets appears to be influenced by modifying factors which may differ between muscles.
Dieterich, A. and Pickard, C. and Deshon, L. and Strauss, G. and Gibson, W. and Davey, P. and McKay, J. 2015. M-mode ultrasound used to detect the onset of deep muscle activity. Journal of Electromyography and Kinesiology. 25 (2): pp. 224-231.


text:
Cranbrook House & Gardens (Organization)
Cranbrook Architectural Office Records
Abstract Records of the Cranbrook Architectural Office which was responsible for the supervision, inspection, approval and acceptance of all construction work at Cranbrook, beginning with Eliel Saarinen's leadership through its closure in the 1980s. The materials reflect the planning and building phases of the Brookside School (BS), Christ Church Cranbrook (CCC), Cranbrook Academy of Art (CAA), Cranbrook House, Cranbrook Institute of Science (CIS), Cranbrook School (CS), Kingswood School (KS), and...
Found in: Cranbrook Archives, Cranbrook Center for Collections and Research / Cranbrook Architectural Office Records
Cranbrook Foundation Office Records
Abstract The Cranbrook Foundation was established on November 28, 1927, by George Gough Booth and Ellen Scripps Booth. It was a trust and administrative entity to endow and support the six institutions that George and Ellen had founded: Brookside School Cranbrook, Christ Church Cranbrook, Cranbrook Academy of Art, Cranbrook Institute of Science, Cranbrook School, and Kingswood School Cranbrook. It's initial mission was, "to add to and strengthen the educational and cultural facilities within the...
Found in: Cranbrook Archives, Cranbrook Center for Collections and Research / Cranbrook Foundation Office Records
More about 'Cranbrook House & Gardens (Organization)'
Cranbrook House & Gardens (Organization). Auxiliary (Agent Relationship Hierarchical Relator)
Subject: Science museums X
Art auctions 1
Church architecture 1
Textile fabrics 1


SL-M2875 Scan Software & Drivers for Windows, Mac OS – Linux – Samsung SL-M2875 Scanner with Laser MFP series the performance of compact laser multi-functional printers provide high-quality printing to your Office / Home business.
Samsung Easy Printer Manager and Samsung Printer Status (Smart Panel) are programs that monitors and informed you of the machine's status and allows you to custom size the machine's settings. Easy Capture Manager ensure that to set easily edit, print and print screen capture using the keys on the keyboard. Samsung AnyWeb Print helps you screen-capture, preview, scrap and print the screen of Windows Internet Explorer more easily, than when you use the ordinary program. Samsung Easy Document Creator application offers users an easy-fast to help compose, share high document, scan or fax from some digital information.


Notsure, 11 Apr 2019Well, I didn't dig the thread, just saw the specs there. So even in the thread people weren't ... more> "that's why it was hard for me to believe"
- I don't see anything unbelievable in it. Maybe they did it simply for economy purpose, or they don't want to give NM cards support for Honor subbrand at all (since there is no Honor smartphone with NM card support to date).
> "They must have ditched the NM memory idea completely if they don't provide it with their last models."
- Again, you are wrong: latest Huawei P30 and P30 Pro have support of NM cards.
Nicolas F, 10 Apr 2019https://forum.xda-developers.com/honor-view-20/help/definitely-expandable-memory-t3892132 S... moreWell, I didn't dig the thread, just saw the specs there. So even in the thread people weren't sure until they found out. Well, it seems it doesn't have, and this is a real fiasco, they've lost their minds, that's why it was hard for me to believe. They must have ditched the NM memory idea completely if they don't provide it with their last models. Why did they invest in it if they don't use it? They're mentally insane.
STOP BEING SO IGNORANT !!!
Just how long is "long term"?
They specify only presence of NM card slot, if there is no slot - they don't write about it. So View 20 has NO NM CARD SLOT, OPEN YOUR EYES AND MIND ALREADY!
Nicolas F, 04 Apr 2019Guy in the video opened storage menu in settings - and nothing about memory card appeared ther... moreWell, I'm still not convinced. I saw the manufacturer's page from the start, but they often leave out certain specs, I've seen this practice a lot. It doesn't say No on some Memory extension chart field, it simplu doesn't specify anything.
Notsure, 04 Apr 2019What is supposed to happen after inserting a card? When I insert my SD card, nothing happens, ... moreGuy in the video opened storage menu in settings - and nothing about memory card appeared there. Have you even watched the video?
Anyway, Huawei-Honor itself states on their websites that View 20 has no NM card slot - so stop arguing!
Nicolas F, 04 Apr 2019Facepalm... No, it's FACE-DOUBLE-PALM ! I watched this video - where guy puts NM card in Ho... moreWhat is supposed to happen after inserting a card? When I insert my SD card, nothing happens, except that the extra space appears on the file explorer menu.
Notsure, 04 Apr 2019Search this on YT: Honor View 20 | Magic UI 2 - Ersteinrichtung und Huawei NM Card Test Gsm... moreFacepalm... No, it's FACE-DOUBLE-PALM !
I watched this video - where guy puts NM card in Honor View 20 - AND NOTHING HAPPENS! There was no indication of View 20 reading that card AT ALL!
I even went to German website of Honor - and it also says NOTHING about NM cards support! Neither does Russian website, or British, or French.
https://www.hihonor.com/de/product/honor-view-20 - click on "Technische Daten".
By the way, why didn't you check official sites in the first place, before accusing GSMArena of being unprofessional?! Yes, they made mistakes in specifications lists, but not like this. And there was no way they could not recognise if there was NM card slot in View 20 - WHEN THEY OPENED ITS SLOTS TRAY!
Nicolas F, 04 Apr 2019Honor View 20 has no memory card slots: https://m.gsmarena.com/honor_view_20-review-1880p2.php Sure, but did you know gsmarena changed the specs several times? From NM card to SD card, then to no card? Some sources say it has NM card slot, and some say it doesn't have, and those that say it doesn't have took the specs from here, so I tend to believe it has a NM card slot.
The idea of the NM card is that you can use the second SIM tray as a NM card slot. It would have been criminal from Huawei not to use it after such a huge investment in the format and after making it so facile to implement in a phone.
Anonymous, 01 Apr 2019"Since the 48MP camera is binning four pixels into one, it is able to capture ample amounts of... moreI am using this phone from 10 days & so & i found 48mp picture is better then 12mp. If i compare as sharpness, contrast, details & dynamic range. 4 pixel binning to 1 logic does not seems correct to me.
Anonymous, 03 Apr 2019The View 20 doesn't even have expandable memory.. Wonder how you relate giving it a pass and N... moreYes, it has. All Huawei/Honor flagships have it lately.
Notsure, 03 Apr 2019They're selling phones with NM slots for almost one year now. This isn't how you promote a sta... moreThe View 20 doesn't even have expandable memory.. Wonder how you relate giving it a pass and NM cards together..
- hole-punch in View 20 is more obtrusive than waterdrop notch in Mate 20; also, the corner line of pixels around hole in View 20 is useless - why not move camera to the side and let all pixels be useful?
- it is unnecessary because slim side bezels can be achieved without curvation of display - and Mate 20 is a proof of that (also Meizu 15 series)!
so guys honor view 20 at 420,mi mix 3 at 390,p20 pro at 385 or mi9 at 440 euroes?
BelowAverageAndroid, 03 Apr 2019Well, the NM cards are still a new product, so you just have to wait. It might not be availabl... moreThey're selling phones with NM slots for almost one year now. This isn't how you promote a standard. I've skipped the Mate 20 because of this and now the View 20. The Poco F1 tempted me, but I can't stand the huge notch and the fairly big bezels. Maybe F2 will be ok if it's LCD. I'm looking for an LCD one because my usage is prone to burn in. Or maybe the godamn NM cards will show up.
I am using Honor V20 from a week & i hardly noticed its has a unused black spot in the display.


text:
Written by Jason Hillenburg
OFFICIAL: http://www.jimhagenmusic.com
FACEBOOK: https://www.facebook.com/HagenJazz/
ITUNES: http://itunes.apple.com/album/id1229838302?ls=1&app=itunes
Artwork by John Lind Whitby
Jazz guitarist Jim Hagen has established a much deserved reputation as one of the best musicians working in the genre today. Many might dub his particular brand of jazz as "smooth" and it isn't off the mark in terms of texture, but it doesn't begin to describe the extent of his skills. Hagen's original work and covers draws deeply from one of America's finest musical traditions and his use of its lexicon shows a wide command over its intricacies along with an individual style quite unlike anyone else working in a similar vein. The nine songs on his latest album Jazzical testify to the aforementioned words and reveal him to be a formidable talent still growing despite a lifetime in the music world. Few artists can attest to such a characteristic.
The first song and lead-off single, "Pismo Beach", immediately draws listeners into his web. Hagen's guitar work is, naturally, the musical center of these nine pieces, but that never means other instruments fail to provide an equal and colorful contribution. Hagen is clearly a musician with an ensemble, rather than virtuoso, approach and the drumming and keyboards enrich everything he does. Melody is not in short supply – each of the instrumentalists are fully cognizant of their role in this mix. "D-Tuna" has a less direct approach and opens with an artful cluster of sound before the arrangement solidifies into a discernible structure. Once again, however, melody is the order of the day and this has a bright, optimistic air without ever attempting to overwhelm listeners. The keyboard work is an especially important component of its success. Listeners return to the full on sound of "smooth" jazz with the song "Alexandra", but there's a slightly melancholy or elegiac air surrounding this song that Hagen and his collaborators play with just the right amount of energy. The recording emphasizes the song's evocative elements quite nicely.
The bass opening "All Blues" sets a nice, loping stage for the arrangement and Hagen;s guitar does a memorable job of dueling with the keyboards while bobbing in and out of the mix. Each of the nine songs on this release do a superb job of remaining focused throughout and never risking self-indulgence. Few songs illustrate this better than the title track. Despite running nearly seven minutes long, "Jazzical" has a melodic motif that's difficult to ignore or forget. The fluid transitions and various textural changes are, likewise, expertly handled. Hagen's warm guitar sound has a syrupy musicality that's equally difficult to forget. The album's penultimate track, "Piece of Cake", exudes a playful side quite unlike anything else on the release and the drumming complements it very well. The finale, "Lazy Sunday", features some of his best guitar work and closes Jazzical on an appropriately tasteful note while displaying the same talents that make the preceding eight songs so delectable. Jim Hagen and his cohorts might be working with a long established form, but they prove skillful at pouring old wine into new bottles.
Grade: A+
Posted by Blog Admin at 1:12 PM
Labels: album review, jim hagen, music review, review
Sarah Donner - Black Hole Heart (2017)
Chris Bartels - Myths and Mold (2017)
Cranford Hollow - Color/Sound/Renew/Revive (2017)
The Real Hooks - Damn You (2017)
Kittens Slay Dragons - Big Big Heart (2017)
Jerad Finck - "New Kids" (2017)


Morphettville Racecourse is the main horse racing track for South Australia. It is situated in the suburb of Morphettville in Adelaide, Australia, and is about 5km from the centre of the city.
Currently, under a sponsorship deal with Mount Gambier transport tycoon Allan Scott, the venue is known as Allan Scott Park.


Try our suppliers, ask for informations and we will answer as soon as possible.
Nature, sun, your guide to country holidays in Italy.
Customize your event, whatever the budget, making it a unique moment.
Years of experience in organizing events, allows our staff to provide customized solutions for any kind of celebration, private or institutional. A portfolio of suppliers established over time, allows us to meet customer's satisfaction with the best conditions for quality and price.
Marriage in the cellar, heritage of Made in Italy. The most beautiful wineries in Italy, open their hearts to couples who want a warm atmosphere marked by great wines and gastronomic excellence.
Wedding Italia is a network used by Italians and foreigners to organize the wedding, events or spend a nice holiday in Italy.


text:
Search data.gov.uk
Publisher Animal and Plant Health Agency Basildon Borough Council Brentwood Borough Council Bristol City Council British Geological Survey (BGS) Cabinet Office Calderdale Metropolitan Borough Council Cambridgeshire Insight Centre for Environment, Fisheries & Aquaculture Science Centre for Environmental Data Analysis City of Bradford Metropolitan District Council City of York Council Colchester Borough Council Commission for Architecture and the Built Environment Cornwall Council Cranfield University Dartmoor National Park Authority Department for Business, Energy and Industrial Strategy Department for Children, Schools and Families Department for Digital, Culture, Media and Sport Department for Education Department for Environment, Food and Rural Affairs Department for Transport Department for Work and Pensions Department of Health and Social Care Department of Health, Social Services and Public Safety Driving Standards Agency Environment Agency Environmental Information Data Centre Food Standards Agency Forestry Commission Greater London Authority Healthcare Quality Improvement Partnership Her Majesty's Revenue and Customs Highways England Historic England Home Office Homes England Independent Police Complaints Commission Joint Nature Conservation Committee Judicial Appointments Commission Leeds City Council Lincolnshire County Council London Borough of Barnet London Borough of Camden Marine Environmental Data & Information Network Marine Management Organisation Met Office Milton Keynes Council Ministry of Housing, Communities and Local Government Ministry of Justice NHS Digital NHS England NHS London (SHA) National College for Teaching and Leadership National Records of Scotland Natural England Natural Resources Wales Newcastle City Council Norfolk County Council North Hertfordshire District Council North Yorkshire County Council Northamptonshire Biodiversity Records Centre Northern Ireland Spatial Data Infrastructure Northern Ireland Statistics and Research Agency Northumberland National Park Authority Nottinghamshire County Council Ofcom Office for National Statistics Ofsted Oil and Gas Authority OpenDataNI Ordnance Survey Oxford City Council Oxfordshire County Council Public Health England Rochdale Borough Council Rother District Council Royal Botanic Gardens, Kew Rugby Borough Council Rural Payments Agency Scottish Government SpatialData.gov.scot Sea Fish Industry Authority Sefton Metropolitan Borough Council Sevenoaks District Council Sheffield City Council Stockport Metropolitan Borough Council Stockton-on-Tees Borough Council The Disclosure and Barring Service The Food and Environment Research Agency Transport for Greater Manchester United Kingdom Hydrographic Office University of Edinburgh Wakefield Metropolitan District Council Warwickshire County Council Wycombe District Council Wyre Forest District Council
Topic Business and economy Crime and justice Education Environment Government Government spending Health Mapping Society Towns and cities Transport
Format CSV GEOJSON HTML JSON KML PDF SHP XLS ZIP
Open Government Licence (OGL) only
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1,786 results found
Trends in populations of selected butterfly species - England
Department for Environment, Food and Rural Affairs
These statistics on widespread butterflies on farmland and in woodland in England, contribute to a suite of indicators due to be updated later this year (Biodiversity 2020 indicators for England);...
Trends in populations of selected butterfly species - UK
These indicators on butterflies in the United Kingdom contribute to a suite of indicators in the UK Biodiversity Indicators. Early data availability allows their release ahead of that...
Trends in populations of selected species (wild birds)
UK wild bird populations is now available from here: https://data.gov.uk/dataset/wild_bird_populations Trends in populations of selected species (wild birds)
Trends in populations of selected bat species: 1990 - 2010
Trends in populations of selected bat species
Concentrations of dissolved metals in selected estuaries: 1991-2004
Inspection Selection spreadsheets
Details of the inspections selected and criteria for selection
NI 065 - Percentage of children becoming the subject of Child Protection Plan for a second or subsequent time
Ministry of Housing, Communities and Local Government
The indicator measures the number who had previously been the subject of a child protection plan, or on the child protection register of that council, regardless of how long ago that was against...
Department for Children, Schools and Families
River water quality: Annual average concentrations of selected determinands
This series is an amalgamation of all the river water quality data sets previously held on Data.Gov.UK (DGUK), thus consolidating all information about selected nutrients, heavy metals and other...
Invertebrate data from Selected Grazing Marshes
Natural England
This dataset consists of invertebrate records from a few grazing marshes. Some of this survey work is quite recent, but the Walland Marsh survey dates back to 1982. Attribution statement: © Natural...
Proportion of Employee Jobs in Selected Industry Sectors by English NUTS Regions
This data details the proportion of employee jobs in selected industry sectors by NUTS areas. Data is on a NUTS1 or NUT2 geographical level, depending on the availability of data at a lower spatial...
Statistics of completed selection exercises and recommendations for judicial appointment showing diversity
Published by the Judicial Appointments Commission (JAC) - Half-yearly publication presenting the progress of candidates through the selection process for judicial office broken down by gender,...
Statistics of the Employment Tribunals selection and recommendations for appointment exercise, showing diversity
This report presents comprehensive statistics on the judicial selection process and recommendations for Employment Tribunal Members. This exercise ran from August 2009 to January 2010. Most...
Register of Selective Licences for Beeston and Harehills
This shortened online register shows if a landlord has been issued with a Selective Licence for his/her property and the expiry date of the licence. New licence applications will not appear on the...
% of children becoming subject to a Child Protection Plan for a second or subsequent time - (YTD)
Operation of police powers under the Terrorism Act 2000 and subsequent legislation: quarterly data on outcomes and stops & searches Great Britain
Quarterly data on the number of terrorism arrests, outcomes of terrorist arrests, principal offences for which terrorism suspects charged and time (in days) from arrest to charge or release of...
Ikon Reports for OGA-selected wells
Oil and Gas Authority
This delivery contains a subset of wells from Ikon Science's regional Roknowledge studies which are within some of the areas currently open as part of the 30th Licencing Round. The wells have been...
Selected household characteristics (2001 Census)
Office for National Statistics
A multiple deprivation measure from the 2001 census: all households and whether they are deprived on any of four dimensions or household characteristics. Source: Census 2001 Publisher:...
Number of DBS applications for selected positions for 2011 and 2012 and PNC information revealed
The Disclosure and Barring Service
Data shows details of the number of DBS applications received for the 'teacher', 'childminder'. 'doctor', 'nurse', 'social workier' and 'carer' for calendar years 2011 and 2012. The attached...
Displaying datasets 1 - 20 of 1786 in total 1 2 3 … Next


text:
Q: How do I create a working menu screen for this p5 Javascript sketch? I have created several different versions of Pong, and stored them as different functions. I have then tried to access these functions using buttons on the screen, with each button press being mapped to its corresponding function. However, when I click one of the buttons none of the functions are loaded and the user can only see the menu screen; basically nothing happens.

A: You're very close, you have the right idea. What I've done is I've setup how I would do this using just your Epilepsymode code (mainly because I was curious to see what it looked like) :D
I have added a flag so you can know which game is currently active, you'll have to do something like this for all the games and disable their corresponding flags when they're not active.
let isEpilepsyMode = false;
let epilepsyMode;  // represents the epilepseMode object
function setup() {
  createCanvas(400,400)
  background(0)
  menu();
}

function draw() {
  if (isEpilepsyMode) {
    epilepsyMode.draw();
  }
}

I've added a new handler for when you click the button:
  button5.mousePressed(beginEpilepsyMode);

Handler:
function beginEpilepsyMode() {
    isEpilepsyMode = true;
    epilepsyMode = new Epilepsymode();
    epilepsyMode.setup();
}

Setup and Draw are methods of the Epilepsymode object, so in order to write epilepsyMode.setup():
function Epilepsymode() {
    clear();
    hideButtons();
    let Lscore = 0;
    let Rscore = 0;
    let r2 = 0;
    let b2 = 255;
    let button;
    balls = []

    this.setup = function() {
        createCanvas(800, 400);
        menu();
        ball = new Ball();
        left = new Paddle(true);
        right = new Paddle(false);

        for (let i = 0; i <= 1000; i++) {
            balls[i] = new Ball()
        }
    }

    this.draw = function() {
        background(0);
        r2 = map(right.y, 0, 400, 255, 0)
        b2 -= map(left.y, 400, 800, 0, 255)
        background(r2, 0, b2)

        for (let i = 0; i < balls.length; i++) {
            balls[i].update();
            balls[i].edges();
            balls[i].show();
            balls[i].checkPaddleRight(right)
            balls[i].checkPaddleLeft(left)
        }
        ball.checkPaddleRight(right);
        ball.checkPaddleLeft(left);

        left.show();
        right.show();
        left.update();
        right.update();

        ball.update();
        ball.edges();
        ball.show();

        fill(255);
        textSize(32);
        text(Lscore, 32, 40);
        text(Rscore, width - 64, 40);

    }

So if you go to this sketch you'll see that the epilepsy button produces the epilepsy version of your game.

redpajama_set_name: RedPajamaStackExchange


text:
Роберт Батор (род. 26 сентября 1963) — шведский шахматист, международный мастер (1987).

Ссылки

Шахматисты Швеции

redpajama_set_name: RedPajamaWikipedia


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