This Class C motorhome features all the comforts of home with its open floor plan.
sleeping.There is also a refrigerator and wardrobe on that side.
At the rear is the bunk beds and bath with toilet, sink and shower.
Again plenty of storage space and room for the children.


Facebook's chief has promised to transform privacy on the social networking platform, with new encryption that even the site's bosses cannot penetrate.
Trump Presses Apple: Shift Production to U.S.
Categories Computer & ElectronicsTags Apple, Presses, Production, Shift', Trump, U.S.
It's just a world of pain.
The annual CES convention in Las Vegas is known as the launch pad for a dizzying array of hardware products ranging from concept cars and super-thin TVs to laptops and tablets.
While sales of pricey light trucks amid a sustained run of cheap fuel may be good for Detroit's bottom line, the collapse in demand for smaller vehicles has led to job cuts elsewhere.
Categories Business NewsTags Auto, Fuel, Market, Prices, Shift', Spur, U.S.
A baroque-inspired print gives this petite dress elevated appeal, while the shift silhouette gives you comfort. Jm Collection has all of your bases covered!
I went into an all night pharmacy recently, after getting off of work at 10 p.m. I had to pick up a prescription for my endless, insomnia-inducing cough. Walking up to the counter, I was bathed in the smell of cigarette smoke, carried on the coats of patrons. Eight of us stood by the counter, outnumbering the staff by 100 percent. I checked in and waited for my prescription to be filled. And in the eyes of the pharmacist and technicians, I saw exhaustion: physical and emotional.
It's a 24/7/365 world out there, and nowhere is it more evident than in anything related to healthcare. It's easy for me to think doctors are the most weary. But that's arrogant poppycock. I'm only a cog in the great wheel. Pharmacies dispense medicine all night because people are sick and go to the hospital all night. Nurses comfort the sick and ambulances run all night long, in weather and situations that make even the postman shudder.
Furthermore, when it comes to safety, firefighters rescue the imperiled all night and police officers risk their lives and enforce the law at all hours. Power company workers repair lines and road workers keep highways flowing as rail workers run the trains on time and air traffic controllers watch the skies. And none of it stops at 5 p.m. Airmen, sailors, soldiers and marines keep watch all night as well, in dangerous and inhospitable places.
At Christmas, we sometimes forget that packages are moving across country while we sleep, driven by tired drivers and pilots, sorted by fatigued men and women in shipping departments. God bless them, people are processing orders and doing tech support all night by phone and computer. Many restaurants, especially the kind frequented by those listed above, prepare, serve and deliver food throughout the watches of the night. Gas stations, hotels and convenience stores are always open and staffed by the weary.
The list goes on and on. But the truth is, we have created a world in which some group of people always has to be awake at night. There's really no going back to the time when the lights went off at 8 p.m and we were all in our beds waiting for the rooster to wake us to another rested, bucolic day of agrarian simplicity.
Anyone who has worked at night, for any length of time, knows the toll it takes. I have spent more than my share of nights awake, working in the ER. I'm proud of that. I have learned to power through, to make the right decisions. Nevertheless, a few long nights and I'm weary to the bone; I hurt all over and I feel dizzy. My 50-year-old body crying out for deep, restorative sleep. It's not just me; studies on sleep deprivation paint a grim picture of the physical and mental problems associated with fatigue.
I knew what I was getting into as a doctor. But all too many people find themselves on nights, in industry or public service, because the new guy gets nights. And doesn't get days until someone, or several someones, leaves or dies. Yes, it's a job. They're glad to have it. Certainly, too, some people just seem designed for nights. I've worked with them. They're happiest working 'third.' They're probably vampires.
On the balance, though, almost everyone would rather work in the daytime or evening. Not only because we feel lousy when we're tired. But because there's a magic to being home with the ones we love. Tucking the kids in bed, sleeping with our spouses, locking the doors and turning off the lights — those are gifts to treasure. It's hard to replace those things with white noise, fans and blacked-out windows.
All of it is more pronounced during the holiday season. Admittedly, I sometimes enjoy the hospital at night, especially when it slows down and we can turn on a little music. And there is a beauty to driving to work in the darkness and coming home as the world wakes up. Still, it's sweeter to be home with lights around the tree and Christmas movies on the television.
So perhaps this holiday season, and even after, everyone who doesn't work at night could just be a little kinder and a little more sensitive to those who do. If you have to call someone out, give them a tip or a snack. If you order in a restaurant, be a little kinder, a little gentler. If the problem you have can wait until morning, let it. The men and women awake all night are there, yes, and it's their job. But a slow night is a rare wonder.
And especially for all those who risk their lives at night to keep us safe, warm and comfortable, we should all say a special thanks and prayer for safety. Because being up all night is interesting, and sometimes profitable.
But it's almost never preferable. And I speak from experience.


My MBP's SSD is eaten up by unknown apps and other staff according to Disk Utility app. How could I find and remove all junk and tmp files from the Mac? It is running super slow with 128 SSD.
You will fail as much as I did,( With its help) ,It can't find all the files, and even if you delete them, there will still be files left on the Mac .
Edited by kouer, 03 November 2018 - 10:51 PM.


Welcome to the spooky month of October! It's Friday the 13th and what better day than to announce that my book, Shadows Within, is actually out for sale!
Some have asked me about my self-publishing experience. I think it would be a great idea to put that down in some form as I've certainly learned a lot that's worth sharing. If you have specific topics/questions you'd like to see addressed, please comment below.
Author JP CanePosted on October 13, 2017 October 14, 2017 Categories MusingsTags Friday the 13th, novel, Shadows Within, vampires1 Comment on Shadows Within Now Available!!


Spiraling Echoes is a site-specific sound sculpture which was created for the Rotunda of SF City Hall by internationally renowned, Bay Area sound art pioneer Bill Fontana. For this work, Fontana created an original soundtrack of past and present audio moments recorded throughout San Francisco, from Enrico Caruso's voice to cable car bells. Commissioned as part of the San Francisco Arts Commission Gallery's Art at City Hall program, the site-specific installation was designed to interact with the architecture of San Francisco's historic City Hall. Spiraling Echoes was installed through May 8, 2009 to coincide with the 10th anniversary of the City Hall renovation. Four specialized speakers called transducers, which narrowly focus sound, were mounted around the circular colonnade inside the dome. The richly-layered soundtrack pairing urban noises with historical recordings, was reflected off the surfaces of the architectural elements, creating spiraling echoes that become gradually softer as they move from the upper walkways to the floor of the Rotunda.


text:
Open main sports navigation Sports
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How NBA pioneer Earl Lloyd left deep impression on Lionel Hollins
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HOUSTON – When Lionel Hollins heard about the passing of Earl Lloyd, the first African-American to play in an NBA game, he immediately thought back to his only conversation with the man, on a phone call two years ago while he was still coaching the Grizzlies.
"Bob Lanier said that Earl [Lloyd] had called him, and he was going to call him back and asked me if I'd ever talked to him," Hollins said of the sequence that occurred at a practice on UCLA's campus. "I said no, and he said, 'I'll let you talk to him.'
"I told [Lloyd] I was so grateful, but he was so humble. … He was honored that I would call him, and I was like, 'Man, you have no idea. I'm honored and privileged to have the opportunity to talk to you, one of the greats and giants of the game, and giants of our community.'"
Lloyd, who passed away Thursday, made history by playing for the Washington Capitals in 1950, just days before Nat "Sweetwater" Clifton and Chuck Cooper played for the Knicks and Celtics, respectively.
Earl Lloyd plays for Syracuse in 1955, five years after he broke the NBA's color barrier.AP
Because the three of them came into the league at the same time, Hollins said, none of them received the same kind of attention Jackie Robinson did for breaking baseball's color barrier in 1947. But Hollins said that shouldn't minimize Lloyd's achievement.
"He was the first one to play in a game, and all of those guys endured much abuse and had to go through the same stuff as Jackie Robinson did," Hollins said. "Not to be able to stay in hotels or be able to eat at certain places, all of that stuff was going on while they were trying to achieve their goals of playing in the NBA.
"What Earl told me was like, 'I'm not a hero. I was just trying to play basketball and earn a living.' That's how he looked at it, and in doing what he did, and in the way he did it, he became a hero."
Things are much different now, with multi-million dollar salaries, charter flights and five-star hotels, all of which made it hard for players to comprehend what life must have been like for Lloyd as he tried to break the NBA's color barrier.
"I'm sure it's something that was extremely challenging on a lot of levels," Nets point guard Jarrett Jack said. "You'd think he played against guys who didn't like you because of the color of your skin or race, but he probably had those same fights with other teammates, coaches, your own home fans, and to be able to go out there and weather all that and still handle it and still do your job and perform … I couldn't imagine.
"Having a wife and family at the game, I wonder what that family room was like, even if there was one at that particular time, allowing everyone to fraternize with one another. Just the things we probably take for granted that they had to deal with on a day-to-day to play basketball. … I really couldn't begin to process what they had to go through."
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redpajama_set_name: RedPajamaCommonCrawl


text:
The principle of flight of ornithopters
2. Operating principle of the flapping wing
2.1 Rotation of the flapping wing
3. Flapping wing properties during flight
3.1 Gently inclined climb flight
3.2 Cruise flight
3.3 Strong inclined climb and hovering flight
4. How birds fly
5. Related Links
An Ornithopter, or ornitotero like Leonardo da Vinci termed them, is an aircraft heavier than air, which flies like a bird by flapping its wings. The special feature lies in the wings that do not only generate lift but also thrust. Ornithopters are mostly built the size of birds or flying models and then are also called flapping wing model .
The basic operating principle of a flapping wing has already been discovered (1889) by Otto Lilienthal . To help understanding an effective way of flying of big ornithopters his functional description is still trend-setting to the present day. Especially Alexander Lippisch (papers 1925 - 1939) and Erich von Holst (papers 1940 - 1943), as well as the research work of many biologists have advanced the theory of the flapping flight further. But many details are still not understood.
There have always been quite different variants of the flapping flight theory. They all exist in parallel and their specifications are widely distributed. Calculating the balance of forces even of a straight and merely slowly flapping wing remained difficult to the present day. In general, it is only possible in a strong simplified way. Furthermore, the known drive mechanism and especially wing designs leave a lot to be desired. In every respect ornithopters are still standing at the beginning of their development. But powerful drives make very beautiful flights already possible.
Also here follows only a variant of the flapping flight theory in short version.
Diagram 1
Optimized lift distributions for a gently inclined climb flight with limited wingspan
Optimized lift distributions for a gently inclined climb flight with unlimited wingspan
On a stretched flapping wing lift is generated similar to an inflexible airfoil which is flown from the front. But, during the wing upstroke the air flow hits the wing rather from above and in the downstroke rather from bottom. These modifications are small in the area of the wing root and gets bigger towards the wing tip.
With permanent changing twisting the flapping wing must adapt to these alternating incoming flow directions. However, the lift distribution along the span must not be kept constant, otherwise there is no thrust (please see adjacent diagrams).
During the wing downstroke the lift distribution is bigger altogether than when gliding and more displaced towards the wing tip. It is easy to imagine that thrust is generated along the whole wing span during stroke motion. This works similar to a propeller blade with a very large pitch - only that the propeller torque force that has to be overcome, is here called lift and is also used like that.
Vector diagram of forces and velocities
Forces at wing upstroke
by Otto Lilienthal
On the wing upstroke circumstances are reversed. Overall, the lift distribution is smaller and more shifted towards the wing root. With the stroke motion in the direction of the lift force the flapping wing now acts as a wind turbine blade. If the lift force is big enough it presses the wing upward even without a mechanical drive. Thereby, the wing operates with the operating drag or working drag of a wind turbine against the flight direction (please takes a look at the vector diagram).
At the same time, the outboard wing areas are flown against rather from above. There indeed is generated negative lift, but, similar to a propeller also thrust (please look at the vector diagram).
Whether in the upstroke the wind turbine or the propeller function dominates, depends on the wing twisting and on the shape of the lift distribution (for more details, please see following chapter).
Comparison of aero-
dynamic machines
The adjacent picture clarifies, that the comparison does not apply in all respects to a propeller or to a wind turbine. The velocity proportions at the flapping wing are completely different. But the rotating machines are not designed for simultaneous lift generation. Furthermore, at the flapping wing the lift force at mid-span of the wing is never zero - as like at the rotating machines.
A flapping wing is an aerodynamic machine with two operating cycles, the upstroke and the downstroke. In unaccelerated level flight of a flying wing ornithopter the degree of efficiency of this machine is equal to zero. It only moves itself, but, emits no power.
But if you add a fuselage and a tail unit to the flying wing ornithopter the flapping wing must apply power to overcome the parasitic drag. The flapping wing delivers power. Now in seemingly absurd way, at otherwise same flight status, efficiency is higher than before (bigger than zero). So, if the equilibrium of forces is maintained, the efficiency increases with the size of the tail unit. So the parameter efficiency factor is relatively inapplicable for evaluating flapping wings (please take a look at the Comparison of the transport performance).
The flapping wing as an aerodynamic machine with two operating cycles constantly generates positive lift. In the direction of flight, however, it works with its thrust forward (downstroke) or backward (upstroke). Nevertheless, it is also possible at upstroke to use the entire drive energy for generation of thrust forward, with the three possibilities mentioned below. Of course, there are the usual losses due to the profile drag and the induced drag. However, this is always the case for the generation of lift. The advantage of the flapping wing working in the opposite direction during upstroke and downstroke, is the uniform generation of lift. In spite of changing directions of acceleration, flight velocity should be kept constant. Thereby are definitely advantageous a high flapping frequency and a large model mass.
The total thrust at the flapping wing gets bigger, the more the lift distributions of upstroke and downstroke differ in size and/or in the distribution along the span. This is especially true in the outer wing area, where most of the work is done. If the difference equals zero, operating drag and thrust have the same size and cancel out each other. The total thrust then is equal to zero (please look at A. Lippisch 1938). If there is a difference in lift, the thrust also increases with increasing flapping frequency and stroke amplitude.
For a steady flight all forces - more precisely the force momentums (product from force and duration of action) - affecting the ornithopter during a complete wing stroke cycle must be in balance. The propeller effect must not only balance the wind turbine effect, but, also all remaining drags of the wing and the aircraft. At the same time, the positive part of the lift must outbalance the negative to an extent, that it can carry the weight of the aircraft.
2.1. Rotation of the flapping wing
The course of the lift along the span is modified by the twisting of the flapping wing. But also, a rotation of the wing at the wing root around its longitudinal axis changes the lift. The rotation of the wing only influences the size of its lift in the calculation model, but not its distribution along the span (see adjacent figure). The wing twisting will be adjusted automatically. This would be different with the rotation of a rigid wing.
Changes of lift with a rotation of the flapping wing during wing upstroke in the computer model
In the calculation model the rotation of the wing root is indicated starting from the glide position. It is only indirectly determined by the selection of the lift size. For this purpose, the circulation factor kΓ is used (the circulation factor k-Gamma describes the size of the lift in relation to that of the gliding flight). In the adjacent figure the lift with rotation of the wing root during upstroke by about +6 degrees, amounts to almost 80 % of the gliding flight.
When rotating the wing the required twisting becomes smaller, at least in wing upstroke (please see calculated examples in Flapping wings with and without wing rotation, in German, PDF 0.7 MB). However, the rotation is limited by the maximum permissible lift coefficient of the airfoil at the wing root. The rotation and thus the lift, can be further increased by greater camber of the airfoil and/or wing depth in this area. Birds in particular use a very large camber of the airfoil.
In the generally used theory of the cruise flight of birds the rotation of the wing is not considered. Also with the older lift distributions shown above the angle of incidence at the wing root is kept constant during the wing flapping motion (see above-mentioned diagram 1 und diagram 2). The pictured differences of lift at the wing root results only from different induced downwind angles (please look at the diagram Downwash distributions from the site Handbook).
To equalize the total lift E. v. Holst (1943) suggests in addition to wing twisting a rotation of the wing root. The angle of attack near the wing root should be increased during upstroke and reduced during downstroke. Based on present knowledge, however, turning is not allowed at up- and downstroke, also like at my flapping wing models EV1 to EV5, but, only during upstroke.
Lift and propulsion along the wing
downstroke
upstroke
during downstroke
The propulsion is mainly generated by the hand wing, but, about 40 % also by the arm wing.
during upstroke
When rotating the wing root (here about +6 degrees) the negative thrust remains relatively small, despite almost the same lift as in gliding flight (here approximately 80 %).
The stroke torque of the hand wing around its wrist is very small here. With this lift distribution, the course in the area of the hand wing is even roughly maintained when it is bended downward.
In large birds in cruise flight the rotation is sometimes good to observe, especially near the lower final stroke position (see animations of a swan and a stork and the article Lift during wing upstroke, version 10.1, PDF 1.0 MB). The thereby resulting large lift generates so to speak, a large momentum of lift as reserve capacity. Then, the wing does not need to generate so much lift during the following fast upward motion. In this way the wind turbine function and the resulting negative thrust of the upstroke become smaller. Nevertheless, the sum of the momentum of lift will be large over the entire duration of the upstroke.
An increase in lift near the wing root can probably be achieved by birds by other means than wing rotation. It is conceivable a mechanical coupling of the motions when angle the upper arm during wing upstroke. This could automatically increase the angle of attack and/or the airfoil camber in the area of the elbow (please see 3D-form of the bird wing by K. Herzog). Even just one activity of the tension muscle of the anterior pelvis (propatagium) would be suitable for this. Especially with not so high demands on the variation of lift or with long wings, thereby could be dispensed with the rotation of the wing root. Unfortunately, K. Herzog has nothing reported about such functions of the biological wing.
So, during upstroke one have the following possibilities to increase the lift in the arm wing, without the negative thrust becoming too great.
In the close range of the lower final stroke position, i.e. during low stroke speed, starting already at the end of the downstroke, increase the angle of attack by rotating the wing.
In the same period as above, increase the angle of attack in the area of the elbow, e.g. by angling the upper arm.
In the same period as above, together with the bending downward of the hand wing, increase the angle of attack of the arm wing near the wrist.
During the fast upstroke motion, shift as much lift as possible to the span centre by twisting and rotating the wing.
In the upper final stroke position, maintain the large angle of attack of the arm wing in the area of the elbow until the arm wing is stretched.
In the upper final stroke position, maintain the large angle of attack of the arm wing near the wrist, until the hand wing has finished its upstroke and the upstroke of the whole flapping wing ends.
For ornithopters, all this is difficult to achieve (example for 3. and 6. please see on site Articulated flapping wing, chapter 7. Wrist ... ).
If one uses the lift increases in the two final stroke positions, which are also possible without wing rotation, the lift does not have to be very large during the fast upstroke motion. A rotation of the wings with the aim of increasing the lift is not absolutely necessary. This may be a strategy to generate enough lift during upstroke even without wing rotation.
When a seagull is flying with a strong headwind, its whole body swing up and down, something like at the gull in a gusty wind (animation, 0.5 MB). During its motion downward, in this way the inflow at the wing root is more from below. This creates thrust, please note thrust at the wing root. Besides, this increases the lift there. However, this was not yet investigated in closer detail.
In small birds and ornithopters, because of the high flapping frequency transient flow conditions prevail at the wing. Thereby the lift increases even without wing rotation in the lower final stroke position (please see diagram of lift distributions during a stroke period under non-steady flow conditions from the site Handbook).
For further information about the Rotation of the flapping wing see the following chapter 4. How birds fly.
Very thorough observations of the bird flight and interesting ideas of the wing upstroke and the wing rotation also shows Brendan Body`s homepage, external link 1.
At the wing upstroke the aerodynamic forces along the wing can be adjusted by suitable wing twisting so, that the turning moments round the wing hinge balanced themselves (please look at the following diagram 3). Here, the wing area close to the fuselage acting as a wind turbine directly powers the outboard wing area acting as a propeller. This is the 1st possibility to use the wind turbine energy.
There is no consumption or transfer of energy at this upstroke configuration. The wing can virtually be flapped up by the drive without effort. Propeller and wind turbine effects cancel out each other. The overall effect of the upstroke in the thrust direction is thus equal to zero.
A special lift distribution at the upstroke, when the stroke torque of the inner and outer wing section balanced exactly each other. Thus, the wing can be moved upwards without an external force.
Due to the leverage of the wing at this upstroke setting the positive lift close to the fuselage must be bigger than the negative lift near the wing tip. In total there still remains some positive lift at upstroke ( Otto Lilienthal 1889). The wing downstroke with its generally strong generation of lift and thrust can ensure the balance of the remaining forces during the whole stroke cycle.
As can be seen from the underlying lift distributions in diagram 1 above, the average lift of the two operating cycles are different in size. At least at low flapping frequency this will result in an obvious pendulous motion of the fuselage. But due to thereby generated variations of the angle of incidence it deadens itself quite effectively. These variations are not included in the diagrams.
Would one do without lift in favour of thrust generation in the upstroke, the following should be considered. To generate the complete momentum of lift only in the downstroke - so, about in half of the available time - the lift force and consequently the wing area, too, would have to be almost doubled. This and the corresponding lift fluctuations are only appropriate in exceptions.
The only way to reduce negative thrust despite strong lift generation during the upstroke motion, is the concentration of lift in the mid-span. One can support this by bending the hand wing downwards. Thereby, the angle of attack of the hand wing near the wrist should increase significantly during the bending motion (see image of a wrist with pivot angle). This achieves the following:
The lift in the arm wing area is, so to speak, held together. Negative lift may be present towards the wing tip.
At the same time, the bended hand wing with the effect of an end plate or winglet reduces the induced drag.
By the temporal sequence of the stroke motions of the arm and hand wing can be reduced problems with mass moments of inertia, especially in the range of the upper stroke end position.
To enable in birds strong lift during upstroke at inboard section of the wing, it is equipped with large airfoil camber. Only rarely is increased the wing depth at the wing root.
Of course, other settings are also possible in the close range of the lift distributions in diagram 1. They are well suited for gently inclined climb flights with a moderate stroke frequency. My EV-ornithopters have been built for this way of flying.
In cruise flight, the lift is greater at upstroke and smaller at downstroke than in gently inclined climb flight. This not only reduces the positive thrust at downstroke, but also increases the negative thrust at upstroke. However, these variations are not great. This is offset by a reduction in the drag of the wing and the induced drag during downstroke. The flapping frequency in cruise flight is a little bit lower than in gently inclined climb flight. If the overall settings are balanced, the average drive power decreases.
The now increased wind turbine effect during upstroke can no longer be fully used to generate thrust in the outer wing area. The wing section with propeller effect is simply too small.
Forces at the wing of a stork
during up- and downstroke
According to a proposal by Otto Lilienthal, the wind turbine or the wing upstroke energy may also be used again in a 2nd possibility. At first, the operating drag slows down the flying ornithopter. Thereby detracted kinetic energy of the model can be accumulated in a spring. This spring must be positioned in a fashion that it is tensioned at the upstroke. It removes the tension in the downstroke and supports thereby the flapping motion. The thereby generated thrust transfers the wing upstroke energy back to the kinetic energy of the model.
A 3rd possibility for using the wind turbine force lies in the acceleration of the wing mass in upstroke direction. If the wings are then slowed down at the upper final wing position by a spring and accelerated in downstroke direction, retransfer of the upstroke energy is also effected in this way.
In the upstroke a mechanical drive of the flapping wing is not necessary in these cases. The wing even releases energy to the above-mentioned springs. Anyway, the wind turbine motion must act against any force. Otherwise, no lift can be developed on a free movable wing. Therefore, a guidance (e.g. speed controller) or limitation of the upstroke speed is necessary. The energy emitted during wing upstroke is normally relatively small. This is especially true when the lift is concentrated in the middle of the wing span.
Swan in cruise flight
Close to the water surface a Mute Swan during cruise flight.
Slower and augmented (0.4 MB)
The downstroke twisting is negligibly low.
In order to generate sufficient lift during upstroke, the swan increases the angle of attack by turning the wing root. This already starts before the end of the downstroke. The rotation reaches its maximum shortly after leaving the lower stroke end position and ends before reaching the upper stroke end position (for more details please look at Lift during wing upstroke, version 10.1, PDF 1.0 MB).
Such a variation in angle of attack near the wing root is a feature in the flight technique of many large bird species. However, it is not always so distinct as here, short after the start of this swan.
During upstroke, the strong turning of wing decreases. This may give the wrong impression from the viewing direction, that the wing twisting changes the direction during the upstroke.
The leading inner wing section waits at the top until the outer wing section has arrived at the top.
In the upstroke the variation of the angle of incidence move like a wave from the wing root to wing tip.
The picture series has been presented to me by A. Piskorsch privately.
Optimum lift distribution for gliding with unlimited wingspan. The lift distribution of upstroke is also optimal in relation to the induced drag.
(maybe used in gulls)
about like diagram 2
Altogether, in cruise flight the lift distributions of both of the operating cycles have been approximated to this of gliding (please see adjacent diagram). It can get closer, the more streamlined the aircraft is built. Because then is necessary less thrust. Furthermore, the induced drag of downstroke decreases noticeably in this way.
Perhaps, it might be enough to shift the lift only a little along the span without changing its size. However, for that is nessessary a rotation of the wing root.
Seagull in cruise flight
Slower and augmented
An increase of the angle of attack near the wing root is not visible during upstroke.
From a 16 mm movie by A. Piskorsch
When the cruise flight is perfected, according to Konrad Lorenz (1933) it shows in particular the two following characteristics, a very slight, sometimes barely observable bending of the hand wing downwards, and a constant lift. Thereby an up and down swinging of the bird is no longer observable (for more information please see the site Gait change, chapter 4.).
Similar to a helicopter during flapping flight the weight force can be balanced by a thrust jet directed downward or by a thrust force directed upward. It is the Flying with thrust . Thereby, the wing upstroke practically happens only with the drive. At least in steady flight, the thrust force is always perpendicular to the stroke plane of the wing. Therefore, the thrust force can be aligned with the inclination of the stroke plane of the wing.
Small bird in approach
If the thrust force points exactly in direction of flight, there is either pure flying with thrust (perpendicular climb flight or hovering flight) or pure flying with lift (level flight). At settings between these extremes, the balancing of the weight force resulted by thrust as well as by lift. These mixed configurations are also assigned here to flying with thrust.
At least for large ornithopters, starting from a standing position, hovering on the spot, a strong inclined climb flight, or a very slow level flight, can only be realized by flying with thrust. Cruising flight or the slightly faster level flight, on the other hand, can only be achieved by flying with lift.
In flight praxis, especially the inclination of the stroke plane acts as identification criteria for ways of flying. In level flight it is nearly vertical to the flight direction. If it differs considerably (more than about 10 degrees) it is flying with thrust. In addition, when passive wing twisting is used, a large twist during upstroke is an indication of this flight type - at least at high Reynolds numbers. Also, a relatively high energy consumption in relation to the speed in level flight also indicates flying with thrust.
A. Pénaud (1872)
Flying with thrust can be carried out in technical model making since the beginnings of aviation. But in level flight of large and weightily ornithopters this way of flying demands considerably more energy than pure flying with lift.
In publications about the bird flight is rarely referred to the different flight techniques. The high-power consumption during slow flight is commonly only ascribed to the thereby increasing induced drag. But already Otto Lilienthal has distinguished clearly between two types of power flight in birds and has known the large amount of work in the slow flight.
Also, birds apply the displacement of lift along the wing for propulsion or thrust generation. Erich v. Holst has illustrated it very clearly in the following scheme. In it the location of the centre of lift distribution is represented by a wing section which is shiftable along the wing semi-span.
Basic principle of lift and thrust
generation in the flight of birds
At the upper reversal point of the stroke motion it is shifted towards the wing tip and at the bottom point to the wing root. In this way, seen over a whole flapping period while maintaining the normal force Q (or the lift) the thrust S gets larger than the backward directed force R.
With this ingenious trick of nature, it is possible to generate much lift also during the upstroke and nevertheless, seen over an entire operating cycle, a thrust generation is made possible. Since birds are very streamlined shaped, a relatively small displacement of lift is sufficient for them during cruise flight (see for example the position of the centres of pressure in diagram 4, above).
Stork in cruise flight
In contrast to small birds, here the wing feathers are spread out during up- and downstroke.
The nodding motion of the bird's body causes an increase in the angle of attack on the wing root, especially at the beginning of the wing upstroke.
Supposedly approximate course of the lift distributions along the span according to the vague descriptions of the cruise flight of birds.
Normal force during a flapping period according to descriptions of bird's flight with strong fluctuating lift.
The theory of bird's flight which is commonly used today, is based on another idea. Accordingly, at downstroke in the outer wing area is generated much lift and therewith also much thrust. Thus, the outer wing area is guided upwards without significant force generation. In this way additional drag should be avoided to a large extent (please see adjacent diagrams).
The fundamental principle of thrust generation by lift displacement is not mentioned. About a rotation of the wing root during cruise flight of large birds or other measures to increase lift during wing upstroke is nothing reported. Thus, the lift fluctuates considerably seen over a whole flapping period. According to Konrad Lorenz (1933), however, the cruise flight only occurs when no up and down motion of bird is observable. You can see this yourself in many videos with travelling birds.
Both bird flight theories, i.e. the common theory with strongly fluctuating lift and that with constant lift, are not so far apart in principle. They simply describe two different gaits of flying with lift (please see scheme by K. Lorenz from the site Gait change). Both methods work with the displacement of lift, in common theory it just doesn't explain it in that way. The energy-saving gait with constant lift is used by birds in particular for cruise flight over long distances, such as in bird migration. Therefore, it is difficult accessible for research. Unfortunate I have not always distinguished between the two ways of flying so far (2019), also not here on this website.
If one compares in this context the calculated examples in the article Flapping wings with and without wing rotation (in German, PDF 0.7 MB) it confirms that equable and uneven lift have preferences. This is also the case there, because the size of the lift during wing upstroke is determined in particular by the choice of lift distribution. The flight mode with strongly fluctuating lift offers advantages for gently inclined climb flight (see example 1, with c_Γ1=0) and the flight mode with relatively constant lift for long-distance flights (see example 10, with c_Γ1=5 or 6). But here, too, the general rule applies, what is good for the lift is detrimental to the thrust and vice versa.
Increased lift distribution at upstroke with the aim of a nearly constant lift during a stroke period
For ornithopters it is easier to realize the method with strong fluctuating lift, as described in the commonly used physics of bird's flight. In this case you need no rotation of the wing root. For long-distance flights, however, one should not do without the advantages of an at least almost constant lift (please see also Lift during wing upstroke, version 10.1, PDF 0.9 MB).
Staggering of the primaries
of a stork in gliding
Professor Jeremy Rayner has researched the flight of birds at the University of Leeds (England). Thereby he also already largely described the way of flying with constant circulation or constant lift (see article Vertebrate flapping flight mechanics and aerodynamics and the Evolution of flight in bats in Nachtigall W. 1986, BIONA-report 5). He emphasizes the importance of this gait and sees its strong experimental confirmation in the flow visualization experiments with a kestrel in fast flight by G. R. Spedding (et.al., 1984, 1986, 1987). The resulting image of the continuous vortex gait shows a non-planar vortex pair closely following the wings, with variable mutual distance between the two wing tip vortices. According to J. Rayner, the starting point of each tip vortex at the trailing edge of the wing moves bidirectionally between the wrist and the wing tip. Approach vortices are not visible (please look at external link 3).
A further clarification of the different theories of bird's flight is possible, in particular by measurements on technical flapping wings in wind tunnel. Thereby the effects of various twists and rotations on the lift distributions along the span should to be researched. Also, the behaviour of the wing tip vortices and the downward bending of the outer wing-section are interesting.
Motions of a bird wing and the changes in normal force and drag over a stroke cycle at points of the arm- and the hand wing
according to the commonly used theory of bird's flight.
The vertical upward or in direction of flight acting components of the resultant R form lift and thrust. In the upper and lower final wing position for a short time these forces have similar sizes to those of gliding flight. Up and down movements of the fuselage due to changing lift has been disregarded.
Further details of the flapping wing theory and a calculation method that uses quasi-steady aerodynamics and blade element theory, which has already been used for flapping wings by Otto Lilienthal, can be found in the Handbook.
Tips and observations of bird flight by Brendan Body.
http://www.brendanbody.co.uk/flight_tutorial/index.html
Nathan Chronister explains very concrete the theory of the flight of birds which is commonly used by biologists.
https://www.ornithopter.org/birdflight/flap.shtml
Tyson L. Hedrick, Bret W. Tobalske and Andrew A. Biewener,
Estimates of circulation and gait change based on a three-dimensional kinematic analysis of flight in cockatiels (Nymphicus hollandicus) and ringed turtle-doves (Streptopelia risoria) (2002), Fig. 1.
https://jeb.biologists.org/content/205/10/1389
To the Gait change of birds


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Dollhouse: Joss Wheadon's New Playthings
Joss Wheadon's New Show on FOX, Dollhouse
Two Words: Joss Wheadon. Those two words alone were enough to glue the true Wheadonites to their boob tubes on February 13th for the premiere of Dollhouse. Another two words, Eliza Dushku, were enough to glue any pre- and post- pubescent male, along with the promise of a house full of hotties that can be programmed to be anything you want them to be, completed the coterie.
I had heard rumors from fellow Wheadonites that the pilot, Ghost, was blah. I found that hard to believe since Joss Wheadon is another creative genius whose hit shows includes Buffy the Vampire Slayer and its spin-off, Angel, along with short-lived, Firefly, could write something that was less than genius but I had to agree. It was blah. It introduced Dushku's character of Echo, a girl with no choice but to allow The Dollhouse to wipe her brain of anything that is inherently a semblance of self and upload new personas again and again and again, leaving behind an empty shell. By the end of the pilot, I was confused to the whole premise of the show's concept but being a brain child of Joss Wheadon I just had to give it a chance; plus the pilot had enough mystery that left you curious to see where's it going to go and watching episodes one and two together, thanks to the wonderful DV-R, helped break down the confusion.
Episode two, The Target (aired February 20th), was freaking cool. A rich and good-looking guy hires the Dollhouse to provide a woman who can spend the day with him doing extreme sports. Okay? You'd think he wouldn't have any problem finding someone to spend the day with but he says that he doesn't want someone phony. Again, okay? But we follow along, curious if his intentions are honorable. They aren't. After a rousing day of outdoorsmanship at its best and sex, Echo finds herself the target of a sick game of cat and mouse. Now, the basic premise of the show is that after each persona imprint, any aspect of that persona is wiped clean after a job, so Echo is left to fight for her life with just the basic adventurer imprint criteria. However, she is able to somehow access past imprint information and fight her way out of the situation, ultimately saving herself and her handler. Also, revealed in flashbacks, an active called Alpha went psycho and killed almost everyone, except Echo, before escaping the Dollhouse. We discover that Alpha was behind Echo being hunted by the outdoorsman. So, what the frig is going on?
Eliza Dushku as Echo in Episode 1.2 The Target
Episode three, Stage Fright (aired February 27th), kicked psychological butt. And we discover that Eliza Dushku has a pretty good singing voice. Echo is imprinted with the personality to be close to and protect a pop singer, not as a bodyguard but as a backup singer. Echo soon finds out that the stalker sending threats to the pop singer is actually in cahoots with the singer to end her life. Again, Echo goes off protocol but the headmistress that runs the Dollhouse laughs it off as nothing.
Episode four, Gray Hour (aired March 6th), was good for the underlying storyline that has to do with the mystery behind Alpha and what he wants with Echo. Somehow, Alpha was able to remotely wipe Echo of her imprint while she was on the job. We still don't know who Alpha is or why he seems determined to bring down Echo and the Dollhouse with her but all we do know is that Alpha is one scary dude.
Episode five, True Believer (aired March 13th), Echo goes undercover in a cult but in order to infiltrate this heavily guarded and secluded sect, she is imprinted with the personality of a woman who truly believes in the power of the cult's leader and they are able to accept her because she is also blind. But looks can be deceiving.
Battlestar Galactica fans will be happy to know that Tahmoh Penikett plays FBI agent Paul Ballard who investigates the existence of the Dollhouse and is ridiculed by his fellow agents. Jokes about a candy house in the woods a la Hansel and Gretel are bandied about and is a bit cheesy but still funny. He is also a pawn in Alpha's sick game; he just doesn't know it yet. The Dollhouse headmistress also is pulling Agent Ballard's strings, trying to throw him off the case and he is unaware of this activity as well.
What is the Dollhouse? Well, that is the $24 million dollar question and we'll be closer to an answer after episode six, Man on the Street, airs on March 20th on FOX at 9 PM.
Newer:Supernatural - Death Takes a HolidayOlder:Martin Brodeur Breaks the NHL's All-Time Wins Record
AuthorBTH Staff
CategoriesTelevision Reviews
TagsDollhouse, Eliza Dushku, Joss Wheadon, Tahmoh Penikett


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June 11, 2021 May 21, 2021 by Roger Packer
Kobo is launching the Elipsa e-reader which includes a stylus that turns the device into a notebook where you can mark up or annotate an ebook, with a major caveat (see later in this article), or write documents of your own.
The Kobo Elipsa features a 10.3-in E-Ink Carta 1200 glare-free screen, ComfortLight adjustable brightness, 32GB of storage, a stylus and SleepCover. It is available in Midnight Blue, with the Kobo Stylus in Black and SleepCover in Slate Blue.
Rakuten Kobo CEO Michael Tamblyn says, 'When looking at what should come next for Kobo e-readers, we always go back to our customers, to the people who read every day, to learn how we can make their reading lives better. With Kobo Elipsa, we meet the needs of people who don't just want to read a book; they want to engage with it — mark it up, highlight, write in the margins, or in a notebook of their own, because that is how they get the most out of the books, articles and documents they read. With this new e-reader, we merged the bookstore, book and notebook together so people can capture all the ideas that spring from books and writing.
'When looking at the e-readers currently on the market on one hand, and the e-Ink writing tablets on the other, we saw an opportunity to not just replace a pad of paper or words on a page, but to create a better way to find, capture and create ideas.'
The device looks great and comes at a relatively reasonable price considering the specification. The Kobo Elipsa Pack, complete with Elipsa e-reader, stylus and SleepCover, will retail for $399 in the US, £349 in the UK and CAD499.99 through kobo.com and select retailers.
Pre-orders are now available and the device will be available in stores and online from June 24 in Canada, the US, the UK, Netherlands, Belgium, France, Italy, Spain, Sweden, Switzerland, Australia, New Zealand, Singapore, Taiwan, Hong Kong, Japan and Turkey.
Some of the facilities available in the Elipsa include using the stylus to mark up, highlight and jot notes in ebooks and PDFs. The Kobo Stylus is customizable and uses pressure sensitivity to mimic a ballpoint pen — choose the pen type, shade, line size and eraser size that suits your needs — so you can write directly on the page, just like a pen on paper. Underline or circle, and erase or highlight, with two buttons on the side of the stylus.
Sideloaded epubs locked out of annotation
This would be a perfect device for writers to upload their work in progress either as an epub or as a PDF and proofread it on a brilliant screen using the stylus. But the big problem is that Kobo has decided to lock down epub support for the device so only epubs bought direct through the Kobo store can be annotated using the stylus. This means you cannot, for example, upload your work in progress as an epub and then proofread and mark it up. It's very disappointing that the Elipsa has this limitation and will undoubtedly cost Kobo in terms of sales.
You can still use the device to annotate PDFs, although they've got to be free of any DRM, but that's beside the point really if you're hoping to use the Elipsa to check over how your book is going to look in epub format. The lack of third-party epub annotation support looks like a major deal-breaker to me.
You can, of course, also use it as an e-reader and buy ebooks from Kobo although you wouldn't be able to buy ebooks to download directly from the Kindle store. You can, however, use it to read ebooks from public libraries as the device has built-in one-touch OverDrive access.
Writers can also use the device either for their notes or to write stories. It has handwriting to typing conversion but it remains to be seen whether this works well.
There are other devices available, of course, such as iPads and various tablets which do have the ability to varying extents to mark up texts and use as a notebook. What most of these don't have is the Elipsa E-Ink screen which is probably the closest thing to paper available in an electronic device, although there are some excellent e-note devices available from Sony and Onyx and other companies.
The Elipsa weighs 83g, features a 1.8 GHz Quad Core processor and claims to offer 'weeks of battery life'. It supports 15 file formats, including EPUB, EPUB3, FlePub, PDF, MOBI, JPEG, GIF, PNG, BMP, TIFF, TXT, HTML, RTF, CBZ, CBR. It's interesting that it supports MOBI as Amazon is the only firm that uses this format but it recently ditched MOBI in favour of EPUB.
The Elipsa's built-in notebook feature has room for your notes, ideas and to-do lists. Kobo claims the handwriting experience powered by MyScript means handwriting can be transferred to typed text with a tap and clean up lists and shapes. Navigate to the My Notebooks section to create and manage notebooks. Use titles to keep organized, and rename and delete notebooks as you see fit. You can choose from a range of notebook backgrounds, with lined, square and blank page options. With Dropbox support, you can import documents and export your notebooks as your preferred file type to share with anyone.
ComfortLight technology is built into the Elipsa so you can adjust the brightness of your screen to suit any reading situation. Kobo says the touchscreen is the first to feature Carta 1200 E-Ink technology for a faster display, quicker page turns and deeper contrast. It also comes with a Dark Mode option for white text on black.
Kobo Plus subscription scheme opens in Portugal
Shortlist selected for $30,000 Kobo Emerging Writer Prize
Kobo builds Australian ebook and audiobook alliance with Booktopia
Amazon offers new text editor with format options for Kindle book descriptions


Migrations and database upgrades are often underestimated. Specialy for larger databases it's often a very difficult and long process in which it is important to choose the right approach. We have experience with database migrations between servers and between different platforms and database versions. We are also not afraid of very complex migrations.
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TUSCALOOSA | County residents can drop off their household hazardous waste at the Tuscaloosa Environmental Services Department, 3431 Kauloosa Ave., from 8 a.m.-noon Saturday for free.
Only household hazardous waste will be accepted. Items from businesses will not be accepted. The event is open to Tuscaloosa County residents only.
Tires, medical waste and radioactive waste will not be accepted.
For information, call 311 or the Environmental Services Department at 205-248-4900.
Acceptable items include: cleaning products, including bleach, and swimming pool products; rust preventatives and metal polishes; mothballs; automotive and petroleum-based fluids, including gasoline; paint thinner; pesticides; batteries; insect repellents; propane tanks; latex- and oil-based paints; antifreeze; bleaches; oil; ammonia; creosote; lightbulbs; items containing mercury; chemistry sets; wood strippers and sealants; lawn chemicals; fertilizers; and arts and crafts supplies.


29337 Melia Way, Canyon Country, CA 91387 (#SR19063867) :: Ardent Real Estate Group, Inc.
Welcome home to this lovely hilltop home on a quite & peaceful cul-de-sac with canyon views. This charming 4 bedrooms (main floor Bedroom) 3 bath home sites on a very large lot (12,818 Sq. Ft). Breathtaking mountain view is only the beginning feature of this desirable Pine-Tree Track in Canyon Country. As you walk through the double front door entry, you'll notice the spacious great flowing floor plan with soaring high vaulted ceilings, both Formal Living & Dining Room with Engineered Wood Floors, a cozy fireplace & a beautiful wood framed bay window. Smooth ceilings throughout, DUAL-PANE windows & new PEX Piping throughout the entire home. Kitchen features newer Stainless Steel appliances with bar stool seating as a dining option. Generous size family room with DUAL-PANE windows & sliding doors to access the spacious covered patio & sizable backyard, gated side-yard with storage shed. Main floor bedroom with Engineered Wood Floor, which is currently being used as an office & a full bath. Indoor laundry with plumbing for utility sink. Large Master Bedroom located on the second floor with "TWO" separate his/hers master bathrooms with "TWO" separate his/hers closets & a cozy bonus room with sky lite that can be used as an office or a hubby room. 2 additional bedrooms with a Jack & Jill bathroom complete the second floor. Attached 2 car garage, X-large driveway plus RV PARKING. NO HOA, NO MELLO ROOS. Commuter Friendly & within minutes to the 14 fWY + Shopping.


Mitchell Hillman listens to more local music than just about anyone in the Valley. He presents his picks for best new music in his column, Right Hear, Right Now.
Scattered Melodies - "Trying to Find Me"
It's been over a year in the waiting since their successful crowdsourced fundraiser fueled Scattered Melodies with enough money to record and release their second full-length album, Modern Repair. At long last, the wait is over, and you won't believe the local talent the band gathered for this 14-track album. I've listened to it a dozen or more times and it struck me that every time "Trying to Find Me" came on, I got goosebumps. Scattered Melodies is more a concept than a band. The band is, in fact, bassist Jake Johnston and drummer Josh Montag (The Wiley Ones), and what they do is invite local lead singers, horn players, guitarists, and other musicians to join them in creating their songs. It's a brilliant concept, and I find that "Trying to Find Me" is one of the best tracks to show off what they are capable of, with Laura Hamlin on vocals, Sam Wiley (The Wiley Ones) delivering a fantastic rap, Montag on piano and members of the Phoenix Symphony. It's the closest thing to a pop song on an album of rock, alternative, reggae, and indie sounds, and it happens to be devastatingly catchy. Hamlin's amazing vocals accompanying the flawless piano, and the strings on the chorus are simply magical. Be sure to catch Scattered Melodies at Last Exit Live on Friday, September 18, as they perform Modern Repair at their CD release show. It will be a spectacular event celebrating a spectacular album.
Day Before Plastics - "Papaver"
It appears that Day Before Plastics may tease us to death as it releases singles in anticipation of its first full-length album, Explosive Sadness, later this year. On Wednesday, the group released "Papaver" online, and it's every bit as good as first single "Space Beach," if not better. It's also unlike nearly anything I've heard by them before. It's got a psychobilly guitar line that drives me crazy and a great groove. One thing is sure: The band's songwriting and recording skills are getting honed. And of course, I love the hell out of lead singer Dominick Provenzano's voice. He's becoming a great singer, because his voice is rough and soulful, and he has a signature sound that simply stands out from others. It is ultimately a song of sadness and loss, but in recognition of the upcoming album's title, it is one of the most upbeat songs about such a subject as possible. The dueling guitar work of Provenzano and maestro Travis Snowberger work perfectly with the head-bopping drums of Chris Zagami. The lyrics are as fascinating as the music, and I adore their method of vignette storytelling, with touches of psychedelic prose and allusions to events that are clouded in metaphor. They don't reveal everything, but they say enough to convey the feeling in spades. It's a brilliant trick. This song has upped the ante even further on how much I am looking forward to this album before the end of 2015.
Earlier this week, I was checking out cool shows happening this weekend when I caught wind of Don't Panic, which is releasing The Sleepy EP. I had never heard of them, but they had invited The Woodworks and Bear State for support, and I adore both of those bands. Luckily, they have a couple of tunes serving as a preview for the five-track follow-up to last year's Dos Robot Circus. Of the two, "Crush" has kept me rapt in attention, with its fine blend of hard rock guitars and electronica flourishes. But the real surprise was that it features the sultry vocals of none other than Dylan Rowe, formerly of The Heathers. Her delivery alone makes the song a stunner, but it is also the diverse musical elements that are unusually combined to make the whole thing truly engaging. Combining Rowe's vocal talent with the talent of Jeffrey Robens (vocals, guitars, and programming) and Johannes Lar (bass), Don't Panic creates a unique sound unlike anything else in the Valley. After hearing the two preview tracks, I simply cannot wait to hear the rest of the sophomore EP from a band that I will definitely keep tabs on from here on out. For extra effect, Robens' near-metal screaming at the end of the track only serves to make the crescendo that much better, and for some reason, it doesn't seem the least bit out of place. You may want to drop by Chopper John's on Friday night for their release show, as I can only imagine their live show will exceed all expectations.
The Sleepy E.P. by Dont Panic!
No Volcano - "The Long Game"
Though "The Long Game" did appear on No Volcano's debut album earlier this year, I'm celebrating this song for two reasons this week. First, the group dropped an amazing video for it and second, Onus Records chose this track to open its 20-track Sound Explosion compilation, set to be released this weekend. Who Saved the Party is one of my favorite albums of the year, and though "The Long Game" wouldn't be an obvious pick for a single, it totally works for the video and the compilation upon which it is featured. No Volcano has two kinds of songs: garage rock and experimental tunes in the realm of Television, Pere Ubu, and likeminded early punks. This song belongs in the latter category, and though it's not as bombastic and accessible as its garage-y material, it must be said that it is infinitely more fascinating. Months on from the album's release, it is easily one of my favorite tracks of the nine, and it's all because of Jim Andreas' vocals. The video — written and directed by New Times contributor Troy Farah — is even more fascinating, based on the story "The Steadfast Tin Soldier" by Hans Christian Andersen. It is accurately self-described as "a dream-like tumble through the beetle-filled world of two dolls in love." I would highly recommend checking out No Volcano at Last Exit Live this Saturday for the release of the Sound Explosion compilation from Onus Records.
Phantom Party - "Derby Daze"
Phantom Party has done it again, and its follow-up single to the Stellar EP is a swooning, summery number that rivals the songs on the band's debut. It has to be one of my favorite debut bands of the year, but I do have a predilection to surf music via indie rock delivery. There is something downright cozy about Phantom Party's entire sound. The overt Morrissey sound of Joshua Capati's vocals are a little more subtle on this release, but they are still there. I like their self-description of "pop/post-surf/lo-fi" because it's damned accurate. "Derby Daze" has a stoned vibe about as it tells of the woe and loss, the trials and travails of a lad missing his love who has left him for a life in New York. As he is dying in the summer heat, he imagines his lost love waking up with someone else three thousand miles away. The gold, though is in the pre-chorus with "I'm way too stoned to say your name. I'm fucked up, but everything's okay. I'm okay." Everything is clearly not okay according to every other lyric of the song. The entire band, Nathaniel Levine (guitar), Matthew Slusser (bass), Austin Cooper (drums), back Capati is perfect surf fashion, and the contrast between the upbeat swaying tune and the downer lyrics creates a curious sense of discord that just ends up making me smile. There's something to be said for that clever contrast. I can't wait to hear even more from these cats.


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Doble Kara is a 2015 Philippine melodrama television series, directed by Emmanuel Q. Palo, Jon S. Villarin, and Erick C. Salud. Doble Kara (Lit: Double Faced / English: Identical Twins) is a 2015 Philippine melodrama television series, directed by Emmanuel Q. Palo, Trina N. Dayrit, and Erick C. Salud. It stars Royal Princess of Drama Julia Montes in her first dual role, as Kara Dela Rosa and Sara Suarez, together with an ensemble cast consisting of Mylene Dizon, Carmina Villaroel, Ariel Rivera, Allen Dizon, Sam Milby, Alicia Alonzo, Maxene Magalona, and Edgar Allan Guzman. The series premiered on ABS-CBN's Kapamilya Gold afternoon block and worldwide on The Filipino Channel on August 24, 2015, replacing Pinoy Big Brother: 737 GOLD Doble Kara has received multiple award wins; including a TV Series Craze Award for Best Daytime TV Series, and a Gawad Tanglaw Award for Best Performance by an Actress in a Television Series for Julia Montes.
ALTERNATIVE VIDEO
Pinoy TV Show | Pinoy Tambayan
Doble Kara July 12 2016 Replay
Category: 07.12.2016, ABS-CBN 2 Kapamilya, Doble Kara, Drama, Featured, July 12, Tuesday
Prima Donnas January 5, 2021 Replay


text:
Goshen Reservoir is a small reservoir located in Utah County, Utah. It is an impoundment of Currant Creek downstream from Mona Reservoir.  It is owned and maintained by the Goshen Irrigation Co.

Reservoirs in Utah
Buildings and structures in Utah County, Utah
Lakes of Utah County, Utah

redpajama_set_name: RedPajamaWikipedia


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April 15, 2015 April 15, 2015 David John Chávez
Ncube is living the dream in SHN's 'Book of Mormon'
Alexandra Ncube, playing the role of Nabulungi in "The Book of Mormon" is thrilled to be entering year two of her first national tour. (Photo by Joan Marcus)
To say that Alexandra Ncube is living the dream would be an understatement of epic proportions, comparable to making a statement such as "Phantom of the Opera is having a nice little run on Broadway."
Ncube (pronounced Noo-beh). will burst into San Francisco on Wednesday, April 15th, a little more than a year after starting a plumb job on the national tour of "The Book of Mormon," the Broadway show which won nine Tony awards in 2011 and still one of the hottest tickets in New York. Back in late 2012, the month-long run at the Curran Theatre in San Francisco sold out in 90 minutes.
The current run, which will hang around the City through June 27th, is a thrill for Ncube, a 2012 graduate of Arizona State University, the school in the state where she was also raised. Her training started in a children's theater as a youth, through college with a degree in theater, and then a gig after college as a wedding singer. These various experiences as a performer from a very young age have trained her well, not only for the excitement and energy of a national tour, but also the grind.
"You know, I love it, I really do. It's a fun game to try to keep it fresh and a matter of finding different moments," said Ncube, who plays the head chief's daughter Nabulungi. "Staying grounded comes with the challenge, and I kind of try to make it a game to keep optimistic, instead of feeling it's too hard.
"I can't say I never get tired, and I don't want to think about that. I am always thinking about how I can make it the best I can."
Ncube and others in the company of "The Book of Mormon." (Photo by Joan Marcus)
Aside from hearing a few songs from the soundtrack, Ncube didn't really know much about the show. But all she really needed to know is that its creators, including Robert Lopez (Avenue Q), Trey Parker and Matt Stone (South Park), certainly have a reputation not just for pushing the envelope, but ramming a stack of envelopes with their unique version of searing satire. And in this show, Mormonism is the target, in addition to organized religion in general.
The show follows Mormon missionaries Elder Price and Elder Cunningham as they find themselves spreading the message of the Latter Day Saints in Uganda. Other issues are far more important to the Ugandans, such as war, famine and AIDS. Yet to the naïve and sunny missionaries, these are minor bumps in their ultimate mission.
Parker and Stone are certainly known for their hard-hitting satirizations of many social conventions. Whether it is their bread and butter Comedy Central show "South Park," or taking on terrorism in the puppet comedy "Team America: World Police," Parker and Stone spare no one in their comedy. Add in the musical talents of Lopez, and "The Book of Mormon" goes right along with skewering society at large, and organized religion specifically.
Despite the racy elements of the show, Ncube has yet to meet anyone who has been offended to the point of leaving early. Quite the opposite, she states.
"It's rare that people won't be on board by the end of the show," said Ncube. "It's funny to watch the first few rows early in a show on a Saturday or Sunday matinee, when crowds are a bit more reserved, and they are a little bit shocked. But everyone has loved it in the end."
For now, Ncube is relishing every moment, every standing ovation, and every laugh she has experienced on tour. She is thrilled to be performing in San Francisco, which will allow plenty of family and friends to take a short flight from Arizona to see her perform. These moments are magical, and her preparation from youth through college has made her feel she is exactly where she needs to be.
"Everything I did, I've done exactly as it should have happened," said Ncube. "I did a national tour with a small local youth theatre and learned how to travel closely with people, also working together with people in a band. All these experiences helped me grow so much as an individual and as a woman.
"Everything was a learning experience and a stepping stone to prepare me for this. It's been scary and terrifying to be out there but I felt a little more prepared because of these experiences."
SHNSF presents "The Book of Mormon"
Book, music and lyrics by Trey Parker, Robert Lopez and Matt Stone
Through June 27th
The Orpheum Theatre
1192 Market St., San Francisco, CA
Running time: 2 hours, 30 minutes with a 15-minute intermission
Tickets range from $60 – $210
For tickets, call (888) 746-1799 or visit www.shnsf.com
Alexandra Ncube
Nabulungi
SHN
Previous South Bay's Palac tackles title role in Stage 1's 'Jesus Christ Superstar'
Next Review: 'M. Butterfly at City Lights a searing spectacle


Discussion in 'Birds' started by Steve S, Apr 16, 2005.
Actually, they're just fooling around, nothing at all serious, just 3 yr old Bunny keeping 2mo old Pierre's aggression at bay. Not a very good quality pic, but funny looking.
Here's a new shot of Pierre the "Ewok"
Same as at our house, but it's Nancy telling me :?.
Mischievious is his middle name!
Today, he gets to start wearing his bell collar! Suffice to say, he hates it!


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USA eliminated by Italy from Girls' U18 Worlds in game with 7pt set
0 Liam Smith | August 25th, 2017 | African Volleyball, Asian Volleyball, Brazilian Volleyball, European volleyball, International Volleyball, NORCECA volleyball, South American Volleyball, U.S. Women's Volleyball
Team USA falls to Italy in the quarterfinals with historic low performance. Stock Photo via FIVB
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GIRLS' U18 WORLD CHAMPIONSHIPS
August 18th-28th
Rosario and Santa Fé, Argentina
Finals and Bronze Medal
Once again, fate betrays the author. You can never be too careful as not to jinx anyone. Only a few days ago, when writing my recaps for Team USA's horrendous game against Japan at The World University Games, I asked our readers when was the last time an American volleyball team had an 8 point set in international competitions. I even mentioned that only a deep dig in Wikipedia would be able to offer an answer for that question.
Ditto, only one day latter, Team USA's U18 girls dropped EXACTLY eight points in their third set in a match against Brazil.
Today's chapter is even sadder though, as eight became a historic low seven point set in the Girls' U18 Quarterfinals against Italy. With an astonishing performance, Italy outclassed team USA prevaling 3-0 (25-7, 25-16, 25-15) with Elena Pietrini, Marina Lubian and Sarah Fahr all in top shape. Pietrini bagged another 14 points to keep enhancing her MVP numbers in the competition, while Lubian and Fahr were leveled with 11 points each, the latter with a tournament-high total of 7 blocking points. On USA, Madison Kubik was the only player with double digits as she had 10 tallies.
It was a matter of time for Italy to break free in the first set – an ace by Populini created an 8-4 score, then Fahr and Lubian were superb down the middle and Pietrini wrapped the set 25-7 with three aces in a row. USA did better on the next episode, but it was only to resist the Italian pace a bit longer as the Azzurrine moved to 18-11 after an ace by Fahr. The 2-0 materialised by 25-16 and the Italian performance remained spotless via Pietrini and Lubian, towards a definitive 25-15.
Here are the post match reactions:
Nunevil Brookler, USA's libero: "Italy is one of the best teams in the tournament, if not the best. If we want to be like that we have to play our best, together as a team, and at first we were playing more individually instead that as a team, so we need to work really hard to be like that. I definitely think we could have played better, but you have to make things perfect against a rival like Italy."
Jim Stone, USA's coach: "We knew that Italy was probably better than we were, and we were going to have to play a great match to compete, and we didn't play a great match. Italy is better than we are right now; we had some individuals that fought hard but we are just not up to their level. They are much more physical, they are higher on the net and they are more experienced. Besides our girls were on this environment for the first time, so they were nervous too."
Marco Mencarelli, Italy's coach: "We played a good game. We had continuity, we could always put pressure with our service, as we usually do, but today we could maintain it the whole game. That made the difference; we made it hard for them to side out. Our road is a long one, it doesn't end here: one point at a time, one set at a time and one match at a time."
Alessia Populini, Italy's captain: "We played pretty well, but for sure we can do it better. Our main goal is to reduce as much as we can the error margin, knowing that our aggressive play is prone to errors. We can improve everything, but the will to win and the team union are untouchables."
Below, you'll find updated brackets and recaps from today's action:
Championship Bracket
Round of 16 Quarterfinals Semifinals Final
Serbia 2
FIVB Recaps
Turkey x Germany
Turkey's rising star Ebrar Karakurt had another display for the books as she spearheaded her side to defeat Germany 3-0 (25-20, 25-8, 30-28). Karakurt scored 18 times, but she wasn't alone on the quest as Yaprak Erkek did her job with 14 points. The only other player in the game to reach double numbers was Germany's Lina Alsmeier, with 10 tallies.
As one of the favourite players of the crowd in Rosario, Karakurt got a boost from the support and teamed up with Erkek for a 2-0 with different brands – a first set with dominance but short distances and a second one completely uneven. Germany answered on the third set and led to the 18th point, but Ilayda Iscimen and captain Ilkin Aydin unveiled some nice serves for a 24-all tie, allowing Turkey to wait for their chance and succeed 30-28.
Sahin Catma, Turkey coach: "I think at this age is normal to lose some of the concentration during the game and that's what happened on the third set. The important thing is how we came back again to lead the game, to the dominating position. We all know that we had to win to be in the semifinals and we fought until the end for that. We regained our order and every player did what they had to do during the game."
Ebrar Karakurt, Turkey player: "I am so proud of my teammates because we are doing a great job, we are fighting a lot and I'm very excited with our attitude. During the last set we thought it was over and we lost our focus, but we started fighting again and we did our best to win the game. This is a show for me, I love to feel the support of the people and I can hardly find words to describe this. I cannot be a cold player, I like to play aggressively and maybe that's why people cheer for me."
Emma Cyris, Germany captain: "Turkey play very good volleyball, they are strong and we come from a different hall as the one in Santa Fe so it took time for us to adapt. Anyway, we played well at some moments and I feel it has been a good match. There's no other reason than their strength. I feel very positive about the next matches."
Jens Tietbohl, Germany coach: "It was not easy for us to deal with the really good hitters from Turkey and so we were under pressure and ended up committing a lot of errors, on service and attack. We are not precisely happy, but we do feel OK with our moments against such a great team."
Russia x Japan
With 14 points from Polina Shemanova and 13 stuff blocks, Russia wore out the Japanese defense and earned a 3-0 (25-22, 25-17, 32-30) victory . Side to side with Shemanova was Valeriya Shevchuk with 11 points, while middle-blockers Victoria Pushina and Irina Soboleva crafted 8 of the total 13 successful blocks of the European champions. Despite those amazing numbers, the most prolific scorer of the game was on the other end of the court as Japan's Haruna Soga finished with 18 points. Yuki Nishikawa chipped in with 12 of her own.
Russia forced Japan to trail due to their might and physical conditions, and although the Asian side used their defence to reduce the gap, it was only to 24-22 as Russia clinched the first set right after. Japan advanced 10-12 on the next set, but Soboleva and Shemanova shifted the course of the game to 17-14 and precisely a block, Russia's main feature, set the 25-19. The third chapter showed a courageous Japan still digging and countering, as Nonaka sparked a 23-20 lead, but Russia disabled all the set balls, stepped ahead and won the game 32-30.
Angelina Nikashova, Russia captain: "We are a good team. Our coach managed very well our emotions and that's why we won. The key was in the blocking and serving phase of the game, we made the difference there. We need to show our best game, to prepare to do our best tomorrow."
Alexander Karikov, Russia coach: "We were better and stronger today. It was a derby between the European champion and the Asian champion, and our block and attack were stronger than their defense."
Daichi Saegusa, Japan coach: "First of all, congratulations to Russia. They are a really good team and it was a tough match for us. We started well but they blocked us a lot and our attacks were stopped. In the third set, we served better but we had a high error rate and that's how the game ended."
Dominican Republic x Argentina
In front of a fantastic crowd of over 8'000 fans in Rosario, hosts Argentina were denied of a semifinal spot in the hands of a solid Dominican Republic led by Yanlis Feliz en route to a 3-0 (25-21, 25-17, 25-18) win.
Feliz was the main actress of a Dominican comeback to win the first set after a six-point deficit, marking a key moment of the game. The Caribbean opposite completed 9 points, while powerful Madeline Guillen placed atop of the charts with 15 tallies. As for the home team, Sofia Meinardi scored 12 times.
The hall reached a boiling point when Argentina was ahead 16-10 on the opening episode, but Dominican Republic kept fighting and Feliz had her moment of glory – after a serving streak from setter Lalane, the opposite gave her team a 20-19 score and she added three more points for a 25-21 that stunned the home girls. After that, Dominican Republic turned into a machine, with Guillen blocking, serving and spiking, as the gaps kept widening. It was Feliz who wrapped up the 25-17 of the second set and an 8-1 for the visiting side gave the impression the end was nigh. There was time for two more aces by Guillen and the final 25-18 spike by Martinez.
Alexandre Ceccato, Dominican Republic coach: "The team played well, but I think Argentina felt the pressure of playing in front of such a big crowd. They were a little below of their usual level and that helped us. We planned on starting the game strongly and it was the opposite, but we could change during the match and improve. To arrive here was already a dream, but now we have to keep dreaming. We know Russia is the favourite team tomorrow, but we will try our best. The girls are ready to do it."
Yanlis Feliz, Dominican Republic player: "To be honest, we expected a bit more from Argentina today. We know they can play well, but we just were better today. We didn't feel the pressure, it was the complete opposite – when we play in a full house, we do it even better. We still have a long way to go, but we are hoping for the best; we will battle for what we all want."
Angeles Ligorria, Argentina player: "We did everything we could to win; the preparation was the correct one. Now it's difficult to analyse the match, but we will try to stay positive and learn from this experience. Personally, I think I could have played better; I didn't know what else to do. If we have won that first set, the match would have been totally different. It's not the same to finish 5th than 8th, so I hope we don't stop playing – we will go for it."
Estanislao Vachino, Argentina coach: "We knew it would be hard; we had it all planned and until the last moments of the first set, we were playing just right. After that, our mistakes and their own virtues made them superior. We have fine players, but today we couldn't manage the crowd. We have played a fantastic tournament; if I was told a few months ago that we would play quarterfinals without losing any matches, I would have signed on that with no doubts. We have nothing to regret."
9th–16th places
9th–16th quarterfinals 9th–12th semifinals 9th place match
13th–16th semifinals 13th place match
Brazil x Poland
Brazil defeated Poland 3-1 (21-25, 25-18, 25-16,25-17). The team coached by Mauricio Thomas needed 1 hour and 41 minutes to claim the victory after an adverse first set with a powerful performance by the Polish players guided by Julia Szczurowska who aced 7 times in the game.
Julia Isabelle Bergman also led the Brazilian offense with 16 points (including four aces). Tiara Santos and Beatriz Pereira scored 14 apiece, while Daniela Seibt scored 13. Despite Poland's good start, the Europeans surrendered 17 points against 17 by Brazil.
Peru x Slovenia
Kiara Montes and Flavia Montes scored 15 points apiece as Peru defeated Slovenia in four sets by scores of 25-20, 19-25, 25-22 and 25-17. On the Slovenian side, Nika Bavdaz and Nika Cigale tallied 10 apiece.
Peruvian players capitalized their blocking game and prevailed 0-6 with five blocks by Flavia Montes, meanwhile in services, Slovenia was a little bit superior with 6 collective aces against 4 by Peru, but surrendered 38 points by error. Peru only gave up 26 units in a match that lasted 1 hour and 49 minutes.
Kiara Montes, Player of Peru: "I think today we played with a lot of energy, in some moments we didn't play well, but we knew how to recover and we had a good attitude, that's an important point for us. I feel happy because of the victory and also with my performance. Being an outside hitter is not easy, but our coach gives me confidence and that's important for me."
Marco Queiroga, Head Coach of Peru: "We ended in a very good way, maybe at first we suffered the mental and physical wear, but this are games that any team wants to play. Anyway we need to take our responsibility and we did it. Sometimes losing one set can be really dangerous, and the third one was very important. Hopefully we won it. The match was hard, but we want to get as high as possible so our objective is to win the matches that follow."
Tonka Pucnik, Player of Slovenia: "I think we were really comfortable at the beginning of the game, but then we had some problems in reception. Peru played very well and they fought a lot. We tried also and I'm proud of my team, we gave everything, but today it wasn't enough. I think we can play better in the following games."
Joze Casar, Head Coach of Slovenia: "We had a good start, but then we got struggled. Even in the set we won, we almost did it by accident. We gave up fighting, we did what we could. Maybe we didn't play on our 100% and it wasn't enough to beat them. They played well, they were good in defense and on the organization of the game, so they won. We should get better and fitter to get the best position possible now."
Belarus x Colombia
Belarus defeated Colombia in straight sets by scores of 25-16, 25-19 and 25-21. Tatsiana Kholad scored 13 points while Alina Egorowa and Vera Kastsiuchyk finished with 10 apiece for Belarus. On the Colombian side, Valerin Carabali and Valentina Bahaman recorded 9 apiece. Colombia showed a better blocking performance with a final 8-4 balance, but services made the difference in favor of Belarus with 11 aces (3 by Tatstiana Kholad and 3 by Yuliya Kisliuk). Colombia gave up 22 points while Belarus 23.
Lizaveta Shupliak, Player of Belarus: "I'm very happy because my team got the victory. We hope tomorrow we can repeat and play a good match, we will be preparing it. We really want to get another triumph on our next game."
Darlevis Mosquera, Player of Colombia: "Today we didn't show attitude. It was a match that we could have won, but we didn't do the necessary. We hope tomorrow we can show our best level and give everything we have."
Antonio Rizola, Head Coach of Colombia: "Belarus is such a hard team and they have everything to be among the best eight teams in the world. My team respected that too much and we didn't play today. The inexperience and mental debility of the team were shown today. We need to be patient now, we have to prepare for our next game because there's a lot to keep improving and growing."
Korea x Serbia
Korea stopped a Serbian reaction in the fourth set to impose them a 3-1 defeat (25-17, 23-25, 25-14 and 25-23). Hyemin Park and Yesol Lee closed with 17 points apiece for the Asian team while Jiyun Jeong scored 11 and Juah Lee tallied 10. Barbara Batinic and Jovana Mirosavlevic (with 6 aces) topped for Serbia with 11 points each.
Serbia tied the fourth set 22-22 when it looked like there would be a chance for a tiebreak chance. However, Cho's pupils maintained patience and concentration to solve the match and edge their rivals. Services and blocks were tight between both teams. Serbia gave up 28 points while Korea 24.
Lee Yesol, Player of Korea: "Our game wasn't really good. I think we can play better, we could have won it easily, but we made mistakes and the game got complicated. Tomorrow we want to be more concentrated in the game and improve today's difficulty."
Wanki Cho, Head Coach of Korea: "We played very good in service, we have practiced that, but on other tactical things we weren't so good. We practiced two days about attack and defense positions, but today it didn't work as we expected. Hope tomorrow we can correct that".
Barbara Batinic, Player of Serbia: "Korea was better in reception and service, we were without energy and they did things in a good way. I hope we can win tomorrow against Poland. They're a very good team with good players, but I think we can make a good match."
Jovo Cakovic, Head Coach of Serbia: "I would like to congratulate Korea, today they played really good on every fundamental. Their service, defense, and attack were perfect and they had a very good energy as well. We played without energy, without reception and they were better. Tomorrow is a new day and we need to improve."
17th–20th Places
Cuba x China
China snapped a losing streak of five matches after defeating Cuba in a very close 3-0 (25-23, 25-23, 29-27) with three players topping the charts. Cui Meichen, Liu Yu and Che Wenhan were aligned with 10 points each as the main contributor of the Chinese victory, while Zhang Jiaxin fired 4 aces. Cuba was led by Yamisleydis Viltres and Daima Del Río, both with 4 stuff blocks and a total of 10 tallies, and Elizabeth Vicet trailed one point behind them.
China acquired a four-point lead in the first set with sharper serves and won that one 25-23 despite a tough resistance led by Cuba's Cese. Che Wenhan carved the way to a 6-2 next as the story repeated itself – after the Asian dominance throughout almost the entire set, Cuba tried to reach the tie but the final score was an identical 25-23. Cuban captain Vicet attempted the comeback and her side could place on range at the final track (23-23), but Liu Yu spiked twice and closed the match 29-27.
Elizabeth Vicet, Cuba captain: "We have had a very passive attitude on the last games. We couldn't apply the directions of our coach, with too many mistakes from us all along. China are not that strong, but we couldn't improve and lower our error rate. We failed in every element; we just didn't know how to do things well. We still want to go home with a win and we will go for that tomorrow."
Tomás Fernandez, Cuba coach: "We had the goal of placing among the best 10 teams of the World Championship. They are very young girls and after being unable to fulfill our objective it's very difficult for us to recover psychologically. Our amount of unforced errors is a proof – it's something not usual in this team. The loss against Germany on the first match had conditioned us since then; we have been playing the World Championship without forgetting that result. We also lost against Argentina in five and there we went down again."
Xu Jiande, China coach: "In the other matches we showed a lower level than today. We are a young team that needs to grow a lot; we can be better than this."
Thailand x Mexico
Rosario fans have taken Thailand as one of their favourites and the Asian team rewarded them with another win, this time a 3-0 (25-23, 25-20, 25-19) over Mexico. Thailand's Piyarat Buddawong gathered 15 points and emerged as the main scorer of the game, well supported by teammate Aonanong Saisri, who came from the bench to complete 10 shots. The same number was capped by Mexico's Uxue Guereca and Melanie Quintero added 9, all of them from successful spikes.
The first set wasn't decided until the two final rallies, as the point-by-point basis was rock-solid with Buddawong and Castro leading their sides. An unforced error gave Thailand a 25-23 score and the Mexican remained out of focus until a Thai 11-7 right next, a gap that Buddawong transformed into a 25-20. Still haunted by errors, Mexico slowly deflated and Thailand marched to the three-nil win with a final 25-19.
Piyarat Buddawong, Thailand player: "I really appreciate how each one of us helped each other through the games. We are more confident now and that's why we could defeat Mexico today. This result can be important for us to keep improving for next challenges, such as the Juniors stage."
Jarun Niemtuptim, Thailand coach: "I'm glad because now the communication between the players is quite better. As we're playing very far from home, we have flown over many time zones and day by day we're adjusting ourselves as a team. As this is a World Championship, to be at the 17th place would be OK for us, but I think the girls can do even better."
Melanie Quintero, Mexico player: "We played well despite the 3-0 loss. We could serve well at moments as well as attack; we should have been better on defense though. Thailand moved the ball a lot and it was hard for us to prepare for their spikes. Now we hope to win against China, it won't be easy but I'm confident we can do it."
Ricardo Naranjo, Mexico coach: "After the last matches we had a nice rhythm, with ups and downs but always very focused. I think our serve wasn't up to our expectations and maybe we would have needed a bit more energy and attitude. On the other hand, Thailand played with a very low error rate, they waited for us to fail and that costed us the game."
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