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Prog Sphere brings you an interview with a man behind one of the most influential Swedish bands, Kaipa. I had an opportunity to ask him some questions about his musical background, the beginnings of Kaipa, their albums, his collaboration with other musicians, future plans and so on. Ladies and gentlemen, please give it up for… Mr. Hans Lundin!
Nick: Hello, Hans! First of all I want to say that I'm very glad you've agreed to do this interview for Prog Sphere.
Hans: Hi Nick! Thanks for the invitation, I'm glad that you want to share my thoughts and history.
Nick: Would you tell us something about your musical beginnings? How did you get into composing music? Which bands/artists influenced you back in the 60's/70's?
Hans: Before Kaipa started 1973 I played in my first band S:t Michael Sect 1964-1969 and in the later version of the same band San Michael's 1970-1972. I think the first 7 years were, except having a lot of fun, like an education learning the basic rules of playing in a band. 1970 I had grown as a musician and I started to write own songs. I think San Michael's in a way are the basic roots of Kaipa. San Michael's disbanded early 1972 and for one year I worked as a backing musician behind other artists. During this year I realized that I wanted to form a new band where I could develop my musical ideas.
In the 60's I was of course impressed by Beatles but also bands like Steppenwolf and Spencer Davies Group with Steve Winwood. They were using Hammond organ with a dirty and distorted sound that I really liked. In 1967 I bought my own Hammond organ. In the early 70's I remember I was impressed by the band Ekseption and their heavy versions of classical music on Hammond organ and also Swedish organ player Merit Hemmingsson who showed how to play Swedish folk music on the organ.
Nick: Kaipa formed out of a band called San Michael's. With this band you had recorded two albums. Please tell us a bit more about San Michael's as well as these two albums. It's interesting that San Michael's second album, "Nattåg" was released last year, after 37 years. Why's that?
Hans: San Michael's started as a trio 1970 – Hans Lundin (Hammond organ, Hohner Clavinet & vocal), Tomas Eriksson (bass & vocal) and Gunnar Westbergh (drums & vocal). In 1972 Nane Kvillsäter (guitar & vocal) joined us. We played a lot of own material with Swedish lyrics but like one of our heroes "Vanilla Fudge" we rearranged cover songs to become moodier and heavier. We also jammed a lot on stage.
We recorded two albums with only original material. The first one was recorded and released 1971 and the second one "Nattåg" was recorded 1972 but it was never released. Not until 2009 when Japanese record company Marquee released the album for the first time after 37 years. This album is also released in an European version 2009 by Transubstans records/Record Heaven.
Nick: In 1973, San Michael's split and later that year you and Tomas Eriksson formed Ura-Kaipa and recorded a single under that name, but later you shortened the name to Kaipa. What does Kaipa mean? It's a Swedish word, right? Kaipa's first records, as well as San Michael's were sung in Swedish, why did you decide to do that?
Hans: The single with Ura Kaipa actually contained two songs from San Michael's album "Nattåg" but we decided to use the new band name when it was released simply because San Michael's didn't exist anymore.
The name of the band was originally URA KAIPA. It referred to a Swedish Stone Age chieftain and came from the book "Svenskarna och deras hövdingar" by Werner von Heidenstam. In 1975 the name was shortened to KAIPA.
At that time we were only playing in Scandinavia and it felt natural to use our own language.
Nick: Would you tell us something more about the original line-up of the band? Beside you, there were also Thomas Sjöberg and Tomas Eriksson. It was the line-up in the very first days of Kaipa.
Hans: In 1973 I wanted to form a new band and I asked Tomas Eriksson and Thomas Sjöberg to join me. Sadly, Thomas Sjöberg was hit by cancer and couldn't rehearse regularly any more. He was forced to leave the band early 1974, and was replaced by Ingemar Bergman. During the spring of 1974 we felt that the trio format was too limited to express all the dimensions in our compositions. So we started to look around for a guitarist and during the summer of 1974 Roine Stolt joined us.
Nick: Kaipa is one of those bands that sees several different line-ups over the years. In 1974, Roine Stolt and Ingemar Bergman joined you and Tomas Eriksson, and these musicians basically beside you formed the core of Kaipa for the next 5 years or so. I'm not sure, but Roine then was 17 years old when joined the band, and slowly you became one of the leading acts coming from Sweden. How was it then to compose music with these guys and how has your approach to creating music changed since then?
Hans: Roine and I were the main composers in Kaipa. There is only one song from that time that we wrote together "Musiken är ljuset". The arrangements were mostly made together by the whole band.
The basic roots in my compositions are probably the same but today I have a lot of experience and knowledge that I didn't have at that time. I suppose that my basic identity today is a mix of all my musical impressions since I started to play in my first band. I've been on a long musical journey and it seems that some of the places I've visited just continue to stay in my memory but they seem to change in size and form and sometimes they come back with a totally different identity. This is probably the seed to the music I'm writing today.
Nick: 1975 brought us your first album, called "Kaipa", and with this release you became one of the most important progressive rock groups in Sweden. This album exudes with ambition, refreshment, as well as professionalism even now after 35 years. An explorative release. What are your notes on this album? How do you see now?
Hans: I wish it would've been recorded with a better sound especially the drums but I think it contains some really great compositions and beautiful melodies.
Nick: After your selftitled album, the band continued to grow and mature, and as a product of this you created "Inget Nytt Under Solen". This record contains the epic "Skenet bedrar". Please, tell us about the songs itself, the titles, and give us technical details about this album. What was it like creating it?
Hans: This was the first time we created a really long song. It was a challenge but I think we succeeded. The song "Skenet bedrar" had several different faces and went through many changes before we found the final version that we recorded for the album. The song is almost 22 minutes long, it couldn't be performed properly as a whole so we recorded it in several sections that were later reassembled in its final form. The album was produced by Kaipa together with Leif Mases who also recorded the San Michael's albums. Leif managed to reproduce the sound we wanted, as close as possible to that of our live gigs with less reverb and more punch to the drum parts.
Nick: "Inget Nytt Under Solen" includes a slightly jazzy atmosphere. What were your influences for it? I have to say that most beautiful keyboard work is done on this record, in my opinion. Would you mind telling us what instruments you used for this album?
Hans: I don't recognize your description "jazzy atmosphere" but there are many other influences Swedsih folk music, classic music and rock. I play Hammond organ, Grand piano, Fender Rhodes electric piano, Mellotron, Yamaha & Korg synthesizers, Logan string machine, Hohner Clavinet, vibes, marimba and prepared piano.
Nick: I have an impression that all other songs on this album are under the shadow of "Skenet bedrar", as this is so great. Would you agree with me?
Hans: Maybe the other songs are overshadowed by "Skenet bedrar" but there are several great songs on this album. The song "Korståg" is considered to be a classic Kaipa song.
Nick: For your next album, Mats Löfgren joined the band to be the lead vocalist and did a very good job. What were some of the influences behind "Solo"? Also, what's behind the name? It seems like the same as the English word "solo".
Hans: On the two first album I wrote most of the songs. On this album Roine Stolt was the main composer. I'm not sure we really knew what direction we should choose. But it ended up with shorter and sometimes simpler songs. The artwork for this album is made by a close friend to the band "Lars Holm" I think "Solo" is the name of one of the figures in his painting.
Nick: How much were Roine and the other band members involved in creating the music for Kaipa's 70's albums?
Hans: As I mentioned before Roine and I were the main composers in Kaipa. Roine's involvement increased until he left the band 1979. The arrangements were mostly made the whole band.
Dan: Could you tell us about some of the lyrics on the early Kaipa albums, for all of those people in the world who don't speak Swedish? I know this is probably a hard one because you guys released quite a few songs that all had lyrics… Just pick something that comes to mind that you think we might enjoy.
Hans: The main message in our lyrics was probably to celebrate the power of love and the beauty of nature.
Dan: Also, who wrote the lyrics for Kaipa in general?
Hans: On the two first albums Roine and I wrote the lyrics but also Ingemar Bergman in some places. When Mats Löfgren joined the band he became the main writer.
Nick: "Händer" introduced many changes to the band's sound and lineup, and I believe that majority of your fans have been disappointed with this and next album "Nattdjurstid". Not that I'm trying to blame you or make you feel guilty, but what happened? Did it have anything to do with Roine leaving?
Hans: No I don't think it had anything to do with Roine leaving. Just listen to what he did with his own group "Fantasia" a few years later. I think it was more a question of what happened in music business generally these years. We wanted to continue our musical journey, not playing the same style over and over again. Many other famous band went in the same direction and symphonic rock was just not in fashion during these years. In a way I think we was progressive anyway, we were looking for new challenges, even if it is the albums from the 70's that are remembered both regarding Kaipa and other bands.
Nick: And then after "Nattdjurstid" the band disbanded and you continued as a solo artist. In the period of 1984 – 1989 you recorded three solo albums and released them under your label. Tell us something about these records.
Hans: During the 80's I recorded three solo albums "Tales" 1984, "Visions of circles of sounds" 1985 and "Houses" 1989 (listen at: www.myspace.com/hanslundin). The music on these albums was a melodic progressive music, mostly instrumental and would probably attract prog rock fans. When these albums were recorded many musicians recorded solo albums playing almost everything themselves. So did I, but I had a few guest musicians (Roine Stolt – guitar, Ulf Wallander – saxophone among others) playing on a few tracks. When I listen to theses albums today I wish I had used more real musicians for the recordings but now this is history. The two first albums were released on LP and the last on CD.
Nick: There's an interesting detail for me. I found recently that you've collaborated with former Yugoslavian musician Blagoj Stojanov. I come from Serbia, so that's why I mention this. How did you get in touch with him? Tell us a bit more about it.
Hans: At that time I collaborated with "Boris Petrovski" who worked with theatre in Uppsala and I wrote music to some of their performances. Blagoj was in Sweden at that time, he was a friend of Boris son Viktor and they asked me to record two songs with Blagoj. I don't remember all the details but the songs were released as a single.
Nick: Hagen is another project you've been involved with, and an album "Corridors of Time" was released in 2001. What about this? I'd say that Swedish folk music has become your sphere of interest. Am I right?
Hans: I've always liked the special feeling in Swedish folk music tunes. They often contains both a melancholy and merry feeling at the same time that goes directly into my heart. There were some folk influences already on the first Kaipa album 1975 but today I feel it's a more integral and natural part of the compositions and the Kaipa landscape.
In the late 90's I was invited to play in a musical project called Hagen, mixing traditional Swedish folk music and progressive metal. We recorded an album "Corridors of time" that was released 2001. Another member of Hagen was Per Nilsson who is now the guitar player in Kaipa.
I think working with Hagen gave me a lot new inspiration. I had written a lot of songs, I just didn't know what to do with them but in 2000 I decided to record an album (KAIPA: Notes from the past) which was the beginning of Kaipa part two.
Nick: The new millennium brought us the return of "Kaipa", but with a different lineup. Who initiated this idea? Also, why was the name "Kaipa" reused?
Hans: The album "Notes from the past" started as solo project. I asked Roine if he would like to play guitar on the album and help me to get back into the recording process again after my long hiatus. I didn't have any intention to release it under the name Kaipa. Per Nordin who made the artwork for the album told me when he heard the music: "this is exactly how Kaipa should sound today so why don't you use the old band name?" I asked Roine if he thought it was a good idea. He said yes and suddenly Kaipa was reborn.
Nick: This new turn brought us a different Kaipa. Roine rejoined you and as a product of this collaboration, we were given "Notes from the Past". From the title, it sounds like this album is very retrospective, would you say so? Also, why did you decide that this album would be done in English, along with all other future Kaipa albums (as far as we know).
Hans: With "Notes from the past" I wanted to record an album with brand new music but with a lot of inspiration in the song writing and sound structures from my own history. If you listen carefully to the last minutes of the album you can hear fragments of several melodies from the old 70's Kaipa albums.
In the 70's there was a market for progressive rock in Sweden making it possible to act and tour in our own country and it was most natural to sing in Swedish. Today the situation is totally different, the market for our music is now the whole world so it's most natural to use the English language.
Nick: New Kaipa kinda brought forth a new sound. Was that natural growth or did you want to start something different? How would you describe your musical status now? The fact is that with this reincarnated Kaipa you're more closely to the fans of bands like Karmakanic, The Flower Kings, Transatlantic, etc. and that's fine with me, hehe.
Hans: The unique sound of Kaipa is the sum of the original compositions and the personality and high quality of the individual musicians playing in the band.
Nick: Do you think that re-forming with Roine brought a surge of popularity to Kaipa?
Hans: Of course it did. Even though many people maybe had heard about the old band most of them didn't know how we sounded. Many people discovered Flower Kings because Roine played with Transatlantic. In the same way many people discovered Kaipa because Roine was playing with the band.
Nick: Was that hard to find a vocalist for the new Kaipa? Patrik Lundström did great job, and I have to say that his vocals, especially on "Notes from the Past" remind me of Goran Edman's vocals of Karmakanic. In fact, when I first heard it I thought that Edman had sung on that record! How did you get in touch with Patrik, as well as Aleena?
Hans: From the beginning I worked with "Mikael Olsson" from Hagen as singer but we soon realized it wasn't a good idea. Roine mentioned Patrik as a potential singer, I had heard him on a Ritual album and thought it was a good idea. I contacted him and the rest is history.
Nick: Some critics say that Roine sort of "paved the path" for Kaipa on Notes from the Past, Keyholder and Mindrevolutions, and you were sort of in his shadow, but I (and many other critics) would disagree with them. Aside from the fact that Roine is a great musician and talent, as well as friend of yours, it seems to most that you were the main man behind Kaipa. Am I right?
Hans: Kaipa (part 2) has always been my project but Roine had a lot of influence to the final result especially on the album "Keyholder".
Nick: Roine departed before the recording of Angling Feelings, but you quickly found a new guitarist in the form of Per Nilsson. Many people know him as a guitarist of Swedish melodic death metal band Scar Symmetry, but I would bet very few fans of that band would imagine he's a guitarist for a band like Kaipa. How did you find him? No doubt he's a great guitarist; so how would you compare his style with Roine's? They both grew up in different times, listening different artists, what is it that Per brought to the band?
Hans: I first met Per Nilsson when we both played in Hagen. I immediately realized that he is a very diverse and gifted musician able to play any styles in his own personal way. I actually asked him already in 2002 if he wanted to be the guitar player in Kaipa some time in the future. I had a feeling that the collaboration with Roine Stolt shouldn't last forever.
Both Roine and Per are great musicians but they have different styles and starting points. When I formed Kaipa in 1973, Per wasn't even born. So he grew up in a totally different musical environment. I know that one of his heroes is Alan Holdsworth.
Nick: How is it to work with Jonas Reingold? He's probably one of the most renowned bass players around today and personally one of my favorite musicians.
Nick: "In the Wake of Evolution" is your newest album, and it is, well… it's evolution. An emotional record, if I can say like that. What's your experience on making this album?
Hans: I think "In the wake of evolution" is a logic development and continuation of the previous album "Angling feelings". I never decide in advance what to do or in what direction I shall take the music. It was like if the inspiration took me on an unpredictable ride when I wrote the songs for this album.
Nick: I personally feel like In the Wake of Evolution is Kaipa's greatest album since Solo. How would you compare Kaipa's albums, looking back at all of what has been released under that name?
Hans: Yes I think "In the wake of evolution" is our best album but every album is like a separate story and they all have their highlights.
Nick: The elements which adorn your new album are great guitar solos, originality in the structure of melodies and their imaginative blend with excellent vocals. From the distance of few months since this album has been released, do you consider it a worthy effort? I truly do.
Dan: Speaking of the vocals… how do I say this… some people had problems with Aleena's voice on Angling Feelings. I will admit she was very "emotional" on that album. She seems to have been toned down a bit on "In the Wake…" What do you think about this?
Hans: I think she's always been truly emotional and I don't think she will change her way of singing just because some people have "problems" with her voice.
Nick: What about live shows? Do you have in plan doing them? Maybe a few venues? I have to admit that I'd like to see a live DVD of Kaipa where you would perform two sets, one based on the 70's albums and the other one based on the post-millenium era. What do you think?
Hans: I'm probably a bit like the bull Ferdinand who would rather smell flowers than fight in bullfights. I've always considered this second edition of Kaipa to be strictly a recording project. I've spent eighteen years of my life (1964 – 1982) sleeping in a bus, eating cheap food, taking care of all my equipment, doing all the booking and all other things you have to do when you're poor and play in a band trying to be famous. I don't regret a single day but that is history and I just don't want to do it once again under the same conditions. If the conditions were different today and we could just concentrate on playing our instruments and always have the chance to do a proper sound check maybe I could reconsider this decision but the prog market is very small that's just a fact.
It would also be very difficult to play the Kaipa music live without including several extra musicians. If you listen carefully to our albums you can notice that sometimes there are up to four or more different guitar or keyboard lines playing simultaneously.
Nick: Would you tell us about your favorite bands/albums of all time? What/who are your influences? Also, what gear/equipment you use?
Hans: I don't like rating music and after all the taste changes from one day to another. Maybe you expect that I spend my time listening to a lot of progressive rock but that's not the case. I like all types of music (including progressive rock) as long as it contains good melodies and performance. There was a time when everything was "real" instruments and you could turn real knobs to change the sound. Sometimes I miss that time and I still own some of these instrument like my Hammond organ and Yamaha CS-60 Synthesizer but I seldom use them when I record nowadays.I use a Studio Logic master keyboard to control a lot of different plugin instruments in my computer. Several different self programmed electric piano and clavinet sounds together with organ and different mellotron sounds are the basic foundations in the recordings. The only real synthesizer I use for solos and melodies is a Nord Lead 3 synthesizer which I mostly connect to a guitar amplifier and wah-wah pedal to produce my typical distorted sounds. I also play Melodion and Grand Piano.
Nick: What plans do you have for the future? Are you planning on releasing any more solo material? Are you perhaps working on a new Kaipa album? Are you planning on collaborating with someone else for to do something?
Hans: My future plans are still written in the stars, but I'm very curious to find out what message they'll come up with.
Nick: Do you have any messages for the visitors of Prog Sphere?
Nick: Thanks for the interview, Hans. I hope you enjoyed in answering our questions. All the best!


In industrialised countries, men and women tend to work in different occupations. Particularly striking is the degree to which gender segregation has persisted despite changes in legislation, employers' attitudes and agents preferences. This paper presents a possible explanation of such persistence when agents have imperfect information about their probability of success in different occupations. Agents have prior beliefs about these probabilities, on which they base their choice of occupation and effort. They then update their belief according to Bayes' rule and transmit this posterior belief to their offspring. A feature of Bayesian learning models is that the distribution of long-rung beliefs depends on the initial distribution. Hence, if men and women of previous generations had different preferences over types of jobs, this would have affected their learning and hence the beliefs of the current generation. As a result, even if men and women become identical in their preferences and abilities, they hold different beliefs and hence choose different career paths, thus maintaining past segregation.


text:
Resonate '15 Belgrade, April 13-18th
FIELD is a London based studio working at the intersection of art, design, and technology, led by co-founders Marcus Wendt and Vera-Maria Glahn. Creating expressive and dynamic digital artworks, immersive audio-visual installations and non-linear narrative experiences. The interactions between abstract and figurative form, sensual perception and synaesthesia, procedural systems and emergent simulations are recurring themes in their research.
Their work has been exhibited at galleries in Europe, the US and Asia, including La Gaîté Lyrique in Paris, the China Museum for Digital Art in Beijing, and the British Library, and included in festival programs worldwide including Ars Electronica and onedotzero. The studio collaborates with cultural institutions and global brands on commissioned artworks and generative design solutions, including Nike, Deutsche Bank, HP, Nokia, GE, and Aol.
http://www.field.io
Resonate '15
Belgrade, April 13-18th
© Magnetic Field B
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mean? Facilitates employee leave administration and reasonable accommodation processes Performs other duties as assigned by Management The Ideal Candidate will Possess the Following Additional Education and Experience: Bachelor's degree with 5 years of experience; Advanced degree or professional designation preferred. Ability to lift, grasp and/or carry supplies or equipment weighing up to 75 lbs.
Today, Hilton remains a beacon of innovation, quality, and success. Px 18-G-658: Finisher Finishers: Kelly Services is currently seeking experienced Assemblers for Finisher positions with our top client in Memphis,. Essential Functions: 40 Handle guest complaints through appropriate dispatching of Property Operations staff 40 Monitor property operations staff to ensure compliance with policies and procedures 15 Coordinate all maintenance operations as needed. The ideal candidate will be responsible for assisting the General Manager with the daily operations of the hotel to maintain standards for guest satisfaction, employee satisfaction, quality assurance and asset protection while managing costs within budget.
Specific Functions Of Position: Directs the work of material and other warehouse personnel Receives goods and inputs into system Prepares Shipment and.O.L Safely operates a lift truck during performance of material movement Enters inventory moves into the MFG Pro system on a daily basis. We provide employment to more than 700,000 people annually and we work with some of the largest and best companies both nationally and locally. We will be in touch with you regarding the position within 1-2 business days. EOE Applying Instructions: Please send resume or job history to Beth Porter - HR Coordinator at Redeemers Group, Inc. Provide continuous communication with referring physicians, physical therapists and athletic trainers regarding patient therapy and equipment. Education: High School graduate or equivalent preferred but not necessary. As an Entry Level Client Account Representative, you will utilize your customer service and sales skills as well as your knowledge of all products and services in order to develop long-lasting relationships with customers and to maximize sales profitability.


In the spring, students will learn the dangers of drinking and driving through the use of a DUI simulator, provided by funding from the Georgia Office of Highway Safety.
The Department of Student Health Services at the University of North Georgia (UNG) was again awarded a $6,599 grant from the Georgia Office of Highway Safety (GOHS) to educate students on the dangers of drinking and driving.
"We hope the funds provided by this grant will help us continue to reduce underage use and general abuse of alcohol at UNG," said Sarah Williams, health educator for the Department of Student Health Services.
Health Services offers various programs on the risks of alcohol throughout the year to educate students. The two largest are the Alcohol Education Week in the fall and Safe Spring Break Week in March.
This recent grant will be used to fund activities and events, including speakers and DUI simulators, that help students learn in an interactive way without the negative after-effects that real-life situations would produce.
In the spring a DUI simulator will be brought to campus and students will be able to simulate driving under the influence, so that they can experience and then discuss the dangers and consequences of drinking and driving.
GOHS works with colleges and universities throughout the state to implement the Georgia Young Adult Program (GYAP), which uses strategies like peer education, providing educational speakers to schools, and encouraging schools to develop innovative techniques to reduce crashes.


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J.D. Edwards (JDE) is one of the world's leading enterprise resource planning (ERP) systems and has been for over 40 years. You will find JDE in companies of all sizes and in most industries.
Most members of the Prophet One JDE consulting team have 20+ years of experience working with the JDE platform. To say we are JDE experts is an understatement. The combination of our business acumen, coupled with our application knowledge and technical understanding of the JDE platform places Prophet One in a class all our own. We have the ability to successfully integrate JDE into your business in a way specifically designed to meet your business requirements and have done so for many organizations.


text:
Commemoration of the 50th Anniversary of the Opening of Yokohama Port, 1909.
City Office, Yokohama, c. 1920.
"A View of a Lighthouse from the Bentenbashi Riverbank", Yokohama, c. 1910.
Departure by Steamship, Yokohama, c. 1930.
Sankeiyen, Yokohama, c. 1920.
Nankinmachi (Chinatown), Yokohama, c. 1910.
Jizozaka, Yokohama, c. 1910.
Nozawa & Bros. department store, Yokohama, c. 1940.
Yokohama Snow, c. 1910.
"Christmas Greetings from the Naces", Akita, Japan, c. 1930.
Yokohama Station, c. 1935.
Isesaki-cho, Yokohama, c. 1930.
Yokohama Specie Bank, Yokohama, c. 1920.
Yokohama Port centennial parade, 1958.
French Consulate, Yokohama, c. 1910.
Polo game, Negishi Race Track, Yokohama, c. 1920.
Yokohama Yacht Club, Yokohama, c. 1910.
S.S. President Cleveland, American President Lines, c. 1960.
Nogeyama Park, Yokohama, c. 1935.
U.S. Consulate, Yokohama, 1933.
S.S. President Monroe, American President Lines, c. 1960.
Nogeyama Daijingu, Yokohama, c. 1910.


As a company of radon mitigation experts, Indoor Environmental Management is committed to educating our customers about the connection between lung cancer and radon gas. It's important to note that radon levels can be reduced to safe levels. We want to help you make that happen!
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September 9, 2016 October 9, 2017 David Nilsen
(Book Review) So Much Synth by Brenda Shaughnessy
By David Nilsen
Though CDs were the primary media in music sales by the time I was a teenager, I am old enough to have enjoyed the tail end of the mix tape era. When I started buying my own music in late grade school, all I had was a tape player, so I was forced to buy tapes. I didn't get my first CD player till I was 14, and immediately signed up for one of these preposterous CD clubs. When I was 16, I made an older friend who made me mix tape after mix tape of music that has since shaped my life: The Smiths, The Cure, Suzanne Vega, Depeche Mode, Tori Amos, and countless more. I sent her some of my own, not nearly so good. Soon, it was easier and more reliable to make mix CDs. All the same principles applied to burning a disc as making a tape–you still had to worry about song order and length–but the romance was gone. I just sent that same friend a playlist on Spotify, and while the sentiment and nostalgia are strong in that gesture, it's not a thing she can hold in her hands. She can't push it in the tape player, push a heavy button that clicks satisfyingly into place, and hear a bad recording of a song that says something about our friendship.
Brenda Shaughnessy's new collection from Copper Canyon Press, So Much Synth, is a mix tape of sorts, a collection of love songs and break up songs to the girl she was in adolescence, to the world that made her that girl, that buffeted her through those transitional years until she reached an adulthood that still bears the wounds and glories of having once been an adolescent. There is a series of poems in the collection's middle that riffs directly on the charm and trouble of making a perfect mix tape ("such a delicious pain in the ass to make, / on a double deck if you were lucky"), and even offers us some sample playlists from Shaughnessy's early teens, annotated with reflections on the internal and external realities that shaped them.
These poems directly lead into the book's major work, a twenty-eight page poem titled after a Duran Duran song–"Is There Something I Should Know?"–and interspersed occasionally with lyrics from songs by a variety of '80s musicians. This poem is a phenomenal exploration of Shaughnessy's "700 days," the two years from when she began puberty till it was mostly over. In the book's acknowledgements, Shaughnessy dedicates this poem to her very young daughter: "Simone, I want the world to be safer for you. Your 700 days are years away, but I wrote about mine hoping to put words out there to protect you… I wrote 'Is There Something I Should Know?' hoping to change things for you." The poem is as much an effort to reach back and mother herself at that brutal age. The poem walks slowly through the unique torments of adolescence, such as the loss of childhood freedom and the new social pressure to have a clear identity:
is all absolutes: if bad, one must be the very worst
to avoid being mistaken for average.
To be ordinary was just being invisible,
and surely slow naked death by ants hurts less than that.
The mingled confusion, excitement, and shame of getting her period and entering womanhood:
Basically, all the stories I'd read or heard about
what it was really like to become a woman
made me rather expect a kind of slow, gorgeous
liquefaction after which I'd emerge a cross
between Jessica Rabbit and Denise Huxtable
Or the dawning awareness of her new body as public male property:
What I learned at fourteen was that there was never a short
supply of boys twelve years old, men of seventy,
every age in between, who were interested and willing
and didn't even need to be asked to give an opinion
on my fuckability.
The themes of this poem are picked up and inspected throughout the book, as when she discusses body image in one poem:
Like I learned: no dress could ever be
beautiful or best if it had me in it.
I was a stain in a place we couldn't fix.
Or when she looks at the ways childhood wounds reached forward to provoke a deep emotional neediness in her early 20s:
mother-lacerated childhoods
and the sad way we'd both
been both ignored and touched
badly.
Brenda Shaughnessy writes in So Much Synth with the bare emotional awkwardness of the teen who squirms on her pages, but with the control and skill of a mature poet looking back from the distance of decades. The book testifies to the horror of being an adolescent in a body–the particular contradictions that so often govern this transition for young women–but also, in the midst of those horrors, the bizarre ways in which euphoria periodically broke through the clouds at that age and made us feel like we were walking on them instead. So Much Synth is saturated in the pop music of its era, the weird and wonderful 1980s. Put on a mix tape, read this collection, and be glad you're on this side of puberty.
So Much Synth is available now at GPL.
Reviews - Poetry
books by POC
Copper Canyon Press
LGBTQ books
Published by David Nilsen
David Nilsen is the former editor of Fourth & Sycamore. He is a member of the National Book Critics Circle. You can find more of his writing on his website at davidnilsenwriter.com and follow him on Twitter as @NilsenDavid.	View all posts by David Nilsen
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text:
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Mono faces down the Holy Empire as it drives relentlessly toward the borders of his people. Yet even in the face of daunting odds, he holds onto their religious prophecies. Will hope reign supreme, or will Mono and his Legion succumb to their enemies?
"Legion of Mono" is C. D. Tavenor's first story released on Kindle and the first published work of Two Doctors Media Collaborative.


Westland National Park encompasses the area of coastline through to the Southern Alps, between Okarito in the north to Karangarua River in the south, along State Highway 6, on the South Islands West Coast.
The impressive Franz Josef and Fox Glaciers are the best known scenic attractions of Westland. Both these vast glaciers are 11 kilometres long while both of their terminal icefalls lie in the green rainforest just 250 metres above sea level.
Aside of these two glaciers, Westland contains about 60 more named glaciers, half of which could be classified as large. And there are high mountains, huge snowfields, alpine grasslands and herbfields, extensive forests, lakes, hot springs, large roaring rivers and waterfalls.
Around Franz Josef you will find walks that range from 5 minutes to 5 hours. The Visitor Information Centre at Franz Josef township can provide all the useful information you require on such walks as Peters Pool, Lake Wombat, Roberts Point, the Glacier Terminal, Sentinel Rock, Alex Knob, Tatare River - Terrace Track and several Historical Viewpoints.
There is little scope for longer tramps around Franz Josef or Fox Glaciers, as most trails that head inland invariably turn into Mountaineering Routes.
South by 26km from Fox Glacier is the start of the Copland Valley track. This popular track leads to the famous Welcome Flat Hotsprings. The trail to the Welcome Flat Hut can be covered in about 6 hours from the road-head.
Remember that all sidestreams on this tramp are very prone to flooding, especially during times of heavy rain, assess all crossings carefully.
Also with bathing in the Hot Springs, DO NOT allow your head to become submerged, no matter how annoying the sandflies are, there is a very real risk of contracting amoebic meningitis.
Both Franz Josef and Fox townships have a wide selection of accommodation types, everything from campsites to luxury hotels. (there are Backpackers at both, a YHA at Franz).
Everything you need, EXCEPT BANKING FACILITIES!


text:
Doubly Divested
Nicole Keen, associate general counsel of the Americas for Smiths Group, details the legal support she provided as her company underwent two major divestments in 2017
By	Stephanie Zeilenga
Nicole Keen
For a business to grow and move forward, it sometimes has to refocus. Such was the thinking in 2017 for Smiths Interconnect, one of five divisions of UK-based Smiths Group plc, when it decided to make two major divestments: it sold its microwave telecoms business to Infinite Electronics Inc. for £85 million and its power business to Dunes Point Capital for £162 million.
The aim of the divestments was to refocus Smiths Interconnect's portfolio on its core technologies: technically differentiated electronic components, subsystems, and microwave and radio frequency products. "We continue to make progress in focusing our portfolio to position Smiths Group for long-term growth markets where leading positions can be developed that have innovation at their heart," Smiths Group CEO Andy Reynolds Smith said in a press release.
Nicole Keen, Smiths Group's associate general counsel for the Americas, supported the legal aspects of the divestments and oversaw subsequent reorganization activities. "It was an intense year of work, but it was an interesting opportunity to mix the legal aspects of the job with coordinating and managing business colleagues and giving them the guidance and support they needed," says Keen, who wore many hats throughout the process. Here, she explains some of the major considerations of the divestments and the subsequent reorganization as well as her role in ensuring they went smoothly.
Managing Stakeholders
Smiths Interconnect's two divestments involved numerous stakeholders, including internal team members and business heads, external counsel, and consultants who worked in support of the business. Keen played a key role in managing these stakeholders during the diligence process, ensuring each was invested in the process and understood and met expectations. She also kept things moving along by clearly communicating duties and timelines.
"When you're an in-house lawyer, you're not just working with other lawyers; you're also collaborating with sales and marketing, finance, engineering, HR, operations, etc.," Keen says. "These deals aren't done by one person; everyone has their part, and it's important that everyone understands their role and perform it well in order for the deal to be successful on all sides, whether you're the buyer or the seller. There's a lot at stake."
Engaging with all the different stakeholders for a large global company often means waking up to hundreds of emails each day and handling calls from time zones all around the world, including Asia, Europe, and the coasts of the US.
The unique perspectives and personalities of the stakeholders require Keen to rely on her sharp interpersonal skills, which luckily come naturally to her. "I'm a people person," she says. "You have to act with empathy and communicate well with people but also know when to be more assertive to drive people to action."
Creating a New Order
Each of the divestments was lengthy and involved, and so were the post-divestment reorganization efforts. "Smiths Interconnect is composed of many legacy legal entities and brands," Keen says. "A major goal of the reorganization was to simplify internal processes and systems and enhance customer focus, doing business as Smiths Interconnect rather than as individual legal entities."
To accomplish this, Keen, in coordination with other business functions, worked to consolidate multiple legal entities into a single one. The consolidation entailed a lengthy list of tasks, including conducting an overall assessment of the impact of the reorganization and the actions to implement it, preparing and filing the underlying legal documents and foreign qualifications, updating registrations and permits, recording transfer of ownership of intellectual property, amending contracts, updating internal systems and templates, and communicating changes to internal and external stakeholders.
Similarly to her role during the divestment, Keen worked with many parts of the business during the reorganization. "In consolidating and streamlining the legal-entity structure within Interconnect, each of those internal mergers required coordination with various functions," she says.
Providing Daily Support
Divestments can be disruptive, and it's all too easy to lose sight of the most important thing: being there for customers. While consolidation activities were going on, Keen also had to keep in mind Smiths Interconnect's day-to-day operations and ensure the company would be able to move forward successfully. Keen accomplished this by continuing to provide daily legal support to business colleagues, from sales and engineering to HR and finance.
"It's important to continue to focus on growth of the core businesses because they represent the future of Smiths Interconnect," Keen says. "Reorganizations are tricky because while managing and implementing the changes, you also have to support the daily business needs, make sure there is no negative impact to the customer, and deal with the inevitable questions and issues that may arise internally."
Although managing the diligence aspects of Smiths Interconnect's divestments and the legal aspects of the reorganization required months of hard work, Keen says, she's grateful she got the opportunity. "The divestments and reorganization called for a lot of late and early hours, but the experience I gained is invaluable," she says, "I'm grateful to work for a company that stretches its lawyers and offers them opportunities like this."
Photo by LRG Portraits
Smith Pachter McWhorter:
"Nicole Keen works hard to provide effective legal support with a focus on ethics and compliance. We are proud to call her a friend and a client."
—Armani Vadiee, Partner


Merit Technologies specializes in hot stamping, a process which stamps the metal while in a heated state, which is then cooled when in the press. The hot stamping process enables the use of higher strength steels for products particularly critical in occupant safety such as pillars, roof rails, door beams and bumpers.
MTW is continually developing new material technologies to meet customer requirements. Developments in environmentally friendly coatings to replace traditional material technologies with unique cost effective solutions have strengthened the company's advantage in the market.


I made this tooth fairy pillow today for my granddaughter Arya. The tooth and pocket and pillow are my own but the wings and wand from the fairy are from another designer. Thanks for looking.
My 4 year old Granddaughter Arya modeling her new Easter dress and purse I made for her. Thank you for looking.


Germany and the USA are transatlantic friends; they share many values, but do not always agree on everything.
After decades of living in the country, DW's Louisa Schaefer, from the US, is still baffled at times when in comes to national etiquette norms.
"Wunderbar together" ambassador Danielle shows us her favourite places in Berlin and talks about why she came to Germany.
DW's Hallie Rawlinson reports on her first time attending the Berlinale International Film Festival.
The USA and Germany have the potential to change the world together.
Mascha is planning a career as a UN interpreter. But the sudden death of her boyfriend throws her completely off track. Olga Grjasnowa tells the story of a generation that knows no borders, but has no home either.
Mora is an astute observer of the world. Spotlighting the modern-day feelings of being uprooted and adrift, she is particularly fascinated by eccentric and mysterious men who live on the edge of society.
Does a legal system become questionable if it claims infallibility? To what extent may the state — with the best of intentions — restrict individual freedom? Juli Zeh's philosophical novella asks quite topical questions.


Approach roads are generally clear of ice on Saturday morning. The Bedales Senior School Open Morning is still on and we look forward to welcoming visitors.
As the autumn term draws to a close for Christmas, pupils at Bedales have been getting into the festive spirit with a series of events across the three Bedales Schools.
Children and staff at Bedales Pre-prep School, Dunannie did their bit for BBC Children in Need last Friday when they hosted a 'Shake and Wake' session.
In the centenary year of the Armistice, pupils have marked Remembrance Day with a series of thought-provoking commemorations across the three Bedales Schools.
Bedales welcomed journalist and broadcaster Kate Adie to a full Olivier Theatre on Thursday, just months after she was awarded the BAFTA Fellowship in recognition of her exceptional contribution to television.
Bedales Pre-prep School, Dunannie found themselves at the heart of the Petersfield community last Wednesday when they hosted their annual Harvest Celebration.


text:
Kruze je priimek več oseb:
 Apolon Jakovlevič Kruze, sovjetski general
 Teresa Kruze, kanadska TV voditeljica

Ruski priimki

redpajama_set_name: RedPajamaWikipedia


text:
Q: Why is a cast required for byte subtraction in C#? I have to following code in VS2008 .net 3.5 using WinForms:
byte percent = 70;
byte zero = 0;

Bitmap copy = (Bitmap)image1.Clone();
...

Color oColor = copy.GetPixel(x, y);
byte oR = (byte)(oColor.R - percent < zero ? zero : oColor.R - percent);

When I leave the "(byte)" off the last line of code, I get a compiler error saying it "Cannot implicitly convert type 'int' to 'byte'." If everything is of type byte and byte is an integer type... then why do I need to have the cast?

A: Arithmetic on bytes results in an int value by default.

A: Because arithmetic on bytes returns integers by default so of the two possible assignments the narrower type of zero (byte) is promoted to int (that of oColor.r - percent). Thus the type of the operation is an int. The compiler will not, without a cast, allow you to assign a wider type to a narrower type, because it's a lossy operation. Hence you get the error, unless you explicitly say "I know I'm losing some data, it's fine" with the cast.

A: This is because byte subtraction returns an int.  Actually any binary arithmetic operations on bytes will return an int, so the cast is required.

A: Because arithmetic operations on sbyte, byte, ushort, and short are automatically converted to int. The most plausible reason for this is that such operations are likely to overflow or underflow.
Thus, in your ternary operation, the final oColor.R - percent, actually results in an int, not a byte. So the return type of the operation is int.

A: Because subtraction is coercing up to an integer.  As I recall, byte is an unsigned type in C#, so subtraction can take you out of the domain of bytes.

A: That's because the result of a byte subtraction doesn't fit in a byte:
byte - byte = (0..255) - (0..255) = -255..255

A: Because the arithmetic expression on the right-hand side of the assignment operator evaluates to int by default.  In your example percent defaults to int.  You can read more about it on the MSDN page.

A: Try to run this C# code:
 object o = (byte)(1);
 o = (int)o;
What do you expect? Now try :)
I think this is right:

Eric Lippert says, "I don't think of bytes as "numbers"; I think of them as patterns of bits that could be interpreted as numbers, or characters, or colors or whatever. If you're going to be doing math on them and treating them as numbers, then it makes sense to move the result into a data type that is more commonly interpreted as a number."

Perhaps byte is closer to char than to int.

A: FWIW, java also promotes bytes to int.

redpajama_set_name: RedPajamaStackExchange


She gave a presentation on art therapy April 7 to an audience of 30 college students in the college union where she explained what exactly art therapy is.
Allen comes from a background of helping children, generally with Attention Deficit Disorder or other problems focusing. One activity for the children is to color on a circular pattern of shapes and figures known as a Mandela that was created by Swiss psychologist Carl Jung, a student of world-famous psychologist Sigmund Freud.
The Mandela is often in circular patterns and comes in black and white with abstract shapes and figures that allow the artist to create what they please, Allen said. It is often taught in stress therapy.
Through coloring this conceptual shape, she takes her patients back to their days in kindergarten. The patients often find relief and self-healing through the simple act of coloring and providing their own personal and artistic touch to it.
She went on to explain that art therapy is not about producing art. The therapist is not trying to figure out if something is wrong, but it is non-analytical and the art comes from the patient. That is its overall purpose: to create and heal.
She enumerated some of the helpful benefits of art therapy: it can resolve conflicts, educational problems and disorders. It can improve personal skills, reduce stress and achieve personal insight to one's self.
One of the main differences art therapy has over any other therapies is that it comes personally through the patient, Allen said. Art therapy is for anyone and often engages one's inner-self on a personal level.
It is an art that anyone can create even when words cannot capture the meaning, she said. Art therapy is used in many settings throughout the world today, such as hospitals, wellness centers, schools, crisis centers and even private practices.
One of the places where it is most effective is with combat veterans who are working to process traumatic events, Allen said.
Allen said art therapy also helps with reducing test anxiety by coloring while studying and coloring before one takes a test. It puts test-takers in a relaxed and calm state of mind. It can help provide a clear mind and relieve stress so students can go in with insight and ace their next test.
So the next time you find yourself in a stressful situation, grab some paper and some coloring utensils and see what art therapy can do for you.


By now, you have probably got all or the majority of your research results so the next task is to incorporate them into a discussion chapter for your dissertation. In other words, it is time to discuss your results. This is another important chapter in a dissertation or thesis because it is where your results are put into context or given meaning. This is possibly the reason that a lot of students find it difficult to write a discussion chapter.
It draws attention to any questions or areas for further research.
What should readers expect to see in a discussion chapter?
How important the research is.
What type of information should a discussion chapter include?
What type of information should your discussion chapter omit?
Usually, any diagrams and/or tables should be placed in the results chapter.
How should your information be organised?
One method is to address the hypothesis or your aims in the same order they appear in your dissertation's introduction chapter.
An alternative method is to begin by presenting the most important findings or results with a comment on these. Then proceed down the list to the most insignificant.
Yet another method is to adhere to the advice provided in the second and third sections above.


text:
osmo-montesano
osmo-montesano » Other » A Flock Of Seagulls - A Flock Of Seagulls
A Flock Of Seagulls - A Flock Of Seagulls mp3 flac download
A_Flock_Of_Seagulls
Performer: A Flock Of Seagulls
Title: A Flock Of Seagulls
Digital formats: DXD DMF XM VQF AC3 AHX AIFF
A Flock Of Seagulls: все альбомы, включая Dream Come True, A Flock Of Seagulls, The Story Of A Young Heart и другие.
59 видео Воспроизвести все A Flock of Seagulls's Greatest Hits Best Songs of A Flock of Seagulls - Full Album A Flock of Seagulls NEW Playlist 2017 Greatest Rock Artists '80s #8.
Listen to music from A Flock of Seagulls like I Ran, I Ran (So Far Away) & more. Find the latest tracks, albums, and images from A Flock of Seagulls. A new version of Last.
A Flock Of Seagulls: все альбомы, включая A Flock Of Seagulls Live At Dingwalls, Pick Me Up, A Flock Of Seagulls - Live и другие.
A Flock of Seagulls are an English new wave and synth-pop band originally formed in 1980 in Liverpool by Michael "Mike" Score (lead vocals, keyboards), his brother Alister "Ali" James Score (drums), and Francis Lee "Frank" Maudsley (bass), with their most famous line-up consisting of the Score brothers, Maudsley, and lead guitarist Paul Reynolds
Слушайте и скачивайте a flock of seagulls 1982 на Хотплеере в mp. Modern Love Is Automatics - A Flock Of Seagulls (1982) New Wave,Neo romantic/UK 03:49. A Flock Of Seagulls - A Flock Of Seagulls (1982, Full Album - US version) 38:29. A Flock of Seagulls - 05. You Can Runs - A Flock Of Seagulls (1982) New Wave,Neo romantic/UK 04:30. A Flock Of Seagulls - I Ran (The Album A Flock of Seagulls) 1982 05:06. A Flock of Seagulls - Telecommunication (1982) 02:31. A Flock Of Seagulls - I Ran (So Far Away) (New Wave) (1982) 03:39. Wintmare 1982 OST. Bonus - A Flock of Seagulls - Modern Love Is Automatic 03:49. A Flock of Seagulls - I Ran (So Far Away) (1982) 03:39.
A Flock Of Seagulls may well be known for their bizarrely teased haircuts as much as their hit single 'I Ran' . 5) Band sticker and 6) Signed postcard from all four band members. We ship from our New York or London office.
A Flock of Seagulls is the eponymous debut album by the new wave band A Flock of Seagulls. It was released in 1982 on Jive (see 1982 in music), and featured the international hit single "I Ran (So Far Away)", which reached the Top 10 in the US and New Zealand, as well as No. 1 in Australia. The song "Space Age Love Song" also managed to score radio play. It is generally recognised as a concept album about alien abduction with the tracks thus following a sequential story line. Also, the version of 'I Ran' with the extended intro was replaced with the UK single and video version of the song as the opening track.
A1 Modern Love Is Automatic
A2 Messages
A3 I Ran
A4 Space Age Love Song
A5 Man Made
B1 Telecommunication
B2 Standing In The Doorway
B3 Don't Ask Me
B4 D.N.A.
B5 Tokyo
B6 You Can Run
Manufactured By – TOZD ZKP
A&R [Editor] – Andrej Šifrer
HOP 201 A Flock Of Seagulls A Flock Of Seagulls (LP, Album) Jive HOP 201 UK 1982
1007 4 J A Flock Of Seagulls A Flock Of Seagulls (Cass, Album) Jive 1007 4 J Canada 1982
VA 33003 A Flock Of Seagulls A Flock Of Seagulls (LP, Album) Jive, Arista VA 33003 US 1982
I-204577, I-204.577 A Flock Of Seagulls A Flock Of Seagulls (LP, Album) Jive, Jive I-204577, I-204.577 Spain 1982
1007-4-J A Flock Of Seagulls A Flock Of Seagulls (Cass, Album) Jive 1007-4-J US 1982
A1 I Ran 3:58
A2 Space Age Love Song 3:46
A3 You Can Run 4:28
A4 Don't Ask Me 2:46
A5 Messages 2:51
Producer – Bill Nelson
B2 Modern Love Is Automatic 3:49
B3 Standing In The Doorway 4:41
B4 D.N.A. 2:30
B5 Man Made 5:38
Manufactured By – Arista Records, Inc.
Distributed By – Arista Records, Inc.
Phonographic Copyright (p) – Zomba Productions Ltd.
Copyright (c) – Zomba Productions Ltd.
Published By – Zomba Enterprises, Inc.
Recorded At – Battery Studios, London
Artwork, Design – Pete Watson
Bass, Vocals – F. Maudsley*
Drums – A. Score*
Engineer – Mike Shipley
Lead Guitar – P. Reynolds*
Lead Vocals, Guitar, Keyboards – M. Score*
Management – Checkmount Ltd.
Photography By [Back Sleeve] – Paul Cox
Producer – Mike Howlett (tracks: A1 to A5, B2 to B5)
Written-By – A. Score*, F. Maudsley*, M. Score*, P. Reynolds*
Label Variation with left justified track listing and song length.
Recorded at Battery Studios, London.
JIVE™
℗ & © 1982 Zomba Productions Ltd.
Manufactured and distributed by Arista Records, Inc.
All tracks published by Zomba Enterprises, Inc. (BMI)
℗ 1981 [Tracks A3, B1, B2, B4]
℗ 1982 [all other tracks] Zomba Productions Ltd.
Matrix / Runout (Label Side A): VA 33003 SA
Matrix / Runout (Label Side B): VA 33003 SB
Matrix / Runout (Side A): VA-66000 [scratched out] -SA 1 33003
Matrix / Runout (Side B): VA-66000 [scratched out] -SB-1 33003
Other (Side A): Mastering by Frankford/Wayne New York
A3 You Can Run
A4 Don't Ask Me
B2 Modern Love Is Automatic
B4 DNA
B5 Man Made
Manufactured By – Columbia House – 526384
Copyright (c) – Quality Records Limited
Duplicated By – Quality Records Limited – JV4 6600
Columbia House release. No credits, durations, or production details listed on release.
℗ 1982 Zomba Productions Limited © 1982 Canada - Quality Records Limited
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Great fight, they promised a Mexican style war and they delivered. Both guys were willing to trade power punches with little regard for defense, but Berchelt was just too powerful, big, and had too good of combination punching for Roman despite how much heart Roman showed. I don't think Berchelt versus Farmer or Davis is possible which is a shame, I think he would destroy Farmer but him versus Davis would be a fantastic and evenly matched fight. Berchelt vs. Machado would be another good war that unfortunately can't happen because of promotional divides. Berchelt vs. Ito seems more viable promotionally as long as the money is there and would be a great war even though Berchelt would be a large favorite. I'm happy to hear there are talks of Lomachenko vs. Berchelt. I was unhappy they never fought while Lomachenko was at Super Featherweight, the fight is possible to make promotionally and Berchelt is a worthy opponent. Berchelt is somewhat limited technically and is easily hittable, but I think he can give Loma some issues and he is not hopeless like Sosa, Marriaga, Walters, etc. Loma did not like when Salido worked his body and imposed his size, those are both things Berchelt can do. While Berchelt does not have the technical ability or ring IQ of Salido, Berchelt is bigger than Salido and punches way harder than Salido. I'd definitely favor Lomachenko but Berchelt has a decent chance to win.


I hope I'm really wrong and I'm sure you'll point that out, but I feel a bit nervous about Tony Boselli's chances of getting into the Hall of Fame this year. I'll be watching closely Saturday and I hope he gets a knock at the door instead of that debilitating phone call.
It's OK – and correct – to be nervous given the circumstances. Former Jaguars left tackle Tony Boselli certainly will be nervous Saturday, and with reason: He's a finalist for the Pro Football Hall of Fame, and that's a nerve-wracking, life-changing process if you're not a guaranteed, first-ballot selection. To break it down: Boselli, who played for the Jaguars from 1995-2001, has a very good chance to be one of the five modern-era players named to the 2019 Hall of Fame class when it is announced Saturday. There's also a good chance he won't be in the class. That's reality. Voters with whom I speak overwhelmingly believe he will get in the Hall eventually. Many believe this will be the year. But remember: Tight end Tony Gonzalez and safety Ed Reed are considered locks, and cornerback Champ Bailey is considered close to a lock. That leaves two modern-era positions. The positive working for Boselli is that most voters believe there will be a successful movement to get one of the four offensive linemen who are finalists – Boselli, Steve Hutchinson, Alan Faneca and Kevin Mawae – in this year. The voters believe that four-lineman backlog must be unclogged – and that by unclogging it, it will start a trend that gets all four enshrined in the next few years. My sense from talking to voters is it's between Boselli and Mawai as to which lineman will get in this season. I believe Boselli's chances are better than the last two years – and he was in the final 10 the last two years. So, yes: I'm guessing this is the year. Still, I also wouldn't be surprised if Boselli wasn't enshrined this year. The reality is there are double the worthy candidates as spots. That means even the most deserving candidates have every reason to be nervous.
If Boselli doesn't get in the hall this year, how many years does he have left as a modern-era candidate?
Dante Fowler Jr. is a good player. It's not his fault we overreached. Fowler was never a "sack guy" at Florida. There were plenty of players taken after Fowler that had more upside than him. Fans are mad because we made a seven-to-eight sack defensive end the third pick in the draft. The fingers should be pointed at General Manager David Caldwell. Again.
Point all you want, and it's fine to criticize Caldwell's draft record. But let's not rewrite history to suggest that Fowler was a dramatic reach at No. 3 overall in the 2015 NFL Draft. Would defensive tackle Leonard Williams have been a better choice? Sure, and a lot of people thought so at the time. But Fowler widely was considered one of the three or four best players in the draft and it wasn't much of a surprise when he was the first non-quarterback selected that year.
John, what do you think of this? Have all players who declare for the NFL Draft play for a random NFL team for one year. That way, we know who is good and who isn't – and then the bad teams can draft the star players and it would balance the league. This would take the risk/guessing element out of the draft almost completely. What do you think?
I think you're right that it would eliminate a lot of the risk. It also would be the silliest, most-mockable move in the history of the league.
John, I'm losing my mind over here. That's why I turn to you: a reasonable, well-articulated senior editor of the people. Can you please tell me what the big deal surrounding Nick Foles is all about? He comes with a gigantic price tag, a history of spotty play mixed in with flashes of brilliance, and has proven to be a system-dependent quarterbacks. Why would he make any sense in this iteration of the Jaguars? Wouldn't it be worse than if the Jags had gone all in on the Kirk Cousins auction last season?
The big deal about Foles is he has had remarkable late-season success with the Philadelphia Eagles, and that he is perceived as likely being the best available quarterback when unrestricted free agency begins in mid-March. Those two factors make him a relative rarity – i.e., a quarterback who is perceived as having a chance to be really good being available in free agency. The risk is Foles has struggled in his career as often as he has succeeded, and there are those who believe a lot of his success has stemmed from the playmakers around him in Philadelphia.
Yo Funk! Given the difficulty evaluating quarterback prospects, shouldn't teams simply learn from past mistakes? For instance, seek out a "natural thrower of the ball" (not Blake Bortles), with pocket awareness and toughness (not Blaine Gabbert), with a quick release (not Byron Leftwich)? For my money, David Garrard checked all the boxes and is the most underrated of all Jags quarterbacks. Too bad injuries caught up with him.
Of course teams want natural throwers of the football with unbelievable pocket awareness and quick releases. They also should steer clear of inaccurate passers and favor quarterbacks with phenomenal work ethics, high football intelligence, ability to read defenses and process information and prototypical size. They also should make sure the player has the intangibles that will translate to the NFL, including leadership ability. Every team has past mistakes at quarterback. Everyone tries to learn from them. You still have to project young players into a game far advanced from anything they have experienced and hope they can adapt to it. It's not impossible, but it's phenomenally difficult.
Do you have a sense of how many players were drafted by the Jaguars and then went on to win a Super Bowl with another team? I suspect it is not that many?
There have been more than a few. Keenan McCardell (Tampa Bay, 2002). Desmond Howard (Green Bay, 1996). Andre Rison (Green Bay, 1996). Ferric Collons (New England, 1996). Dave Thomas (New York Giants, 2001). Mark Brunell (New Orleans, 2009). Kyle Brady (New England, 2007). Those come to mind. There are almost certainly more.
O'Man, why aren't we talking about who will win the Super Bowl this week? GET OFF MY LAWN! As long as the offensive line contains Los Angeles Rams defensive tackle Aaron Donald, Tom Brady gets another one. 34-27.
The other day when you said Kyler Murray was your second quarterback behind Dwayne Haskins, was that because of what you saw of Daniel Jones and Drew Lock at the Senior Bowl?
It was because Murray is one of the most-dynamic players in the draft and because there was a buzz about him the week of the Senior Bowl. I also said often during January that I imagined my opinions on the quarterbacks would change quite a bit early in this process. My guess remains that all four of the quarterbacks in your question will be first-round selections – perhaps even Top 15 selections. Jones in particular is being discussed very positively among NFL types, and my guess is he'll be seriously in the conversation for the Jaguars in coming months.
If we were looking at each team's all-time rosters, would the Jags be decidedly the weakest at quarterback?
They would be low on the list. They also have a shorter history than most NFL teams. But take a look at the last 25 years – the amount of time the Jaguars have existed. I don't know that the Tampa Bay Buccaneers' history is that much better during that span. Or the Houston Texans. Or the Chicago Bears. Or the Washington Redskins. Or the Cleveland Browns. Or the Miami Dolphins. Or the New York Jets. Finding a franchise quarterback is hard.
Mighty O: If No. 71 gets in the Hall of Fame this year, do you think there is a better chance for the Jaguars to get that coveted fifth preseason game in Canton? I would rather be there during August.
I wouldn't describe a fifth preseason game as "coveted," but yes … Boselli getting into the Hall of Fame would increase the chances of the Jaguars playing in the Hall of Fame game.
Seriously, one fer Boselli. Make it happen.
I couldn't agree more. As much as we joke in this forum about Boselli, he deserves for this to be his year. So … one fer Boselli? No doubt.


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PMG Chapter 1358: Ice Seal
"He hid his strength!" the last nine cultivators were staring at Lin Feng and Yi Ren Lei. Even though they knew Yi Ren Lei was Lin Feng's friend, they didn't care too much about her.
Of course, the last nine people were also excited. So many people had died, so they had less competitors now. Besides, Lin Feng's demonic shadow had disappeared and Lin Feng and Yi Ren Lei were starting to get worn out.
Yi Ren Lei and Lin Feng were stuck against an ice wall. Lin Feng smiled wryly and said, "Why did you get involved in such a nightmare?"
"The hundred days haven't passed yet, you're still my love!" said Yi Ren Lei. Her lips were frozen, but she was still smiling.
"How can you smile at a time like this?" Lin Feng poured some life water into Yi Ren Lei's mouth.
"Are we going to die?" asked Yi Ren Lei when she saw those nine cultivators coming towards them and releasing ice energies.
"Are you afraid?" asked Lin Feng. "You're not done, you still haven't killed that demonic woman!"
Yi Ren Lei shook her head and said, "I was scared in the past, but since you've been by my side, I stopped being afraid. Maybe dying is a way to solve the issue."
Yi Ren Lei slowly turned around and wrapped her arms around Lin Feng's neck, she smiled and said, "Lin Feng, I think I love you."
"Well then, we can't die. Let's crush them!" said Lin Feng smiling. He looked at those nine people with his pitch-black eyes and released his demonic territory.
The crowd was incredulous, they felt like they were staring at a real demon when they looked at his eyes. The water of the nine netherworlds had appeared inside his eyes.
"Even if you all eventually kill me, I'm going to take a few of you with me before I go!" said Lin Feng. His voice contained demonic cursing energies, making them shiver.
They were determined and strong, so it was difficult to influence them with demonic cursing energies. But, Lin Feng had already killed twenty people and he looked like a real demon. A hole suddenly appeared in from of them.
"That way, not only won't you go to the very heart of the Ice and Snow Shrine, but you'll also lose your life, you'll lose your cultivation, your world will end completely and you will stay in here forever. Nobody will remember you." said Lin Feng. Then, he started singing his Nine Netherworlds Demonic Song.
At the same time, Yi Ren Lei leant against Lin Feng and whispered, "The six desires, debauchery, depravation!"
"Debauchery, lust, pleasure!"
"We can't let her influence us!" the cultivator of the sixth Zun Qi layer was the strongest one and also the most determined. He wasn't affected by Lin Feng's demonic cursing energies, he had shouted before to come back to his senses.
"Why don't you kill me then? Do you want to be those people's servant?" shouted Lin Feng. He slowly rose up in the air again, releasing more demonic energies.
"Boom!" Lin Feng jumped forwards. He was staring down at the two princes who hadn't died still.
"Your friends have been killed and you're the last ones, how can you fight against me? If you die, the imperial family of the Ice and Snow Empire will be doomed. How will those who couldn't wait to send you here react when they learn that you died?" shouted Lin Feng.
"Gloomy Ancient Cauldron!" Ice energies flowed out of the ancient cauldron again.
"Break!" shouted Lin Feng furiously. His sword Qi shot up into the sky and broke the cauldron into two.
"Did you think your cauldron was that powerful? I crushed it in one attack! You all can only accept your fate now!" shouted Lin Feng like a demon.
"Two princes, after you die, the ice emperor will have no more descendents, then the snow leader will gain control!" said Lin Feng, staring at those two people with his pitch-black eyes. He couldn't attack everyone at the same time, so he chose them.
"Shut the hell up!" shouted a prince furiously.
"Submit!" shouted Lin Feng aggressively and brutally. His song continued resonating in their heads.
"Submit and kill them!" shouted Lin Feng. Slowly, they turned around as even more demonic intent flowed throughout their bodies.
"Kill!" shouted a furious voice. The two princes threw themselves at two people. One prince threw himself at the one with the armor, but the latter punched the prince and made him explode. The other prince attacked the cultivator of the sixth Zun Qi layer who threw an icy-spear.
"Bzzz!" Lin Feng performed a knife-hand strike in the air.
"Kaboom!" The cultivator of the sixth Zun Qi layer landed on the ground and released ice marks which moved towards Lin Feng.
"Boom!" the one with the armor also started running again. The seven remaining people didn't hold-out any longer. Lin Feng had way too many special powers.
Lin Feng didn't mind them, instead, he continued condensing sword Qi. Back in the mysterious world, he had studied eighty-one sword marks, and now he was using one them. Up in the air, a sword appeared and whistled with strident energies. Everybody was aghast as cracks appeared in the ice around them and in the demonic territory.
"Kacha!" Lin Feng's legs were freezing as the holy marks reached him, but his sword Qi broke it.
"Dong!" a terrifying sword condensed in front of Lin Feng. The crowd was astonished and the fighters even stopped for a second.
Lin Feng smiled evilly and glanced at the crowd. Finally, he performed another knife-hand strike and the terrifying sword streaked across the sky. The holy marks sword was terrifying and contained astonishing abstruse energies.
"Kill!" Nobody said that, but it seemed like they had heard someone say it. The ice broke apart and two distinct sounds spread in the air, as well as rumbling sounds. The one with the armor had been lacerated, his body was riddled with gaping wounds. The one with the holy marks disappeared without leaving trace.
Two cultivators who could defeat cultivators at the top of the Zun Qi layer had been destroyed by that holy marks sword attack.
But, Lin Feng's arm froze from the exchange.
"Kill!" shouted someone else, throwing himself at Lin Feng. Finally, only five people were left, but Lin Feng seemed tired and injured.
The attacker condensed some ice and ran towards Lin Feng.
"Kacha!" the ice didn't pierce Lin Feng's body because an ice-hand appeared in front of him, along with someone else blocking him.
"Six Desires!" said Yi Ren Lei smiling charmingly. That person instantly fell into an illusion, however, after a second, the ice energies rolled in the air again. By the time he came back to his senses, he saw a gorgeous, long-haired beauty with ice energies running at him.
OddManOut	2018-11-01T16:21:03+00:00	May 6th, 2018|Peerless Martial God|3 Comments
Belkar May 6, 2018 at 2:14 pm	- Reply
Just a Reader May 6, 2018 at 3:48 pm	- Reply
"Maybe that dying" Maybe dying
just for my understanding "he had studied eighty-one sword marks, and now he was using the eighty-first." so he used 80/81 swordstrikes?
"Lin Feng's legs were freezing as the holy marks reach him," reached
Lito Origo May 6, 2018 at 9:30 pm	- Reply
For the sword marks, I read it quickly and thought he was just using the 1st of the 81 steps. The way you quoted it, I interpreted as 'of the 81 steps he studied, he's using the last one'…
But the text (currently) is "he had studied eighty-one sword marks, and now he was using one them."
Should probably say 'one of them'.
Personally, I like the idea of using the 1st step since he had mentioned not wanting to do them the same way and wanting to create his own sword path /techniques.


This impressive collection consists of traditional, fringe-ended Persian designs made to perfection with luxurious silky-soft fibers that create a shimmering and opulent effect on floor spaces. Classy rugs are also easy to maintain with their fast colours as well as their non-shedding, anti-static and machine-knotted pile.
Available in Colours: Cream, Beige, Red and Black (each design has a single and unique colour version).


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Q: Error overloading method using an enum - C# (Error CS0663) I've got an error and I can found on the web the reason. I have those three methods:
 public enum GO
 {
         thatGO, parent, child
 };

 public static void FadeOut(this GameObject go, float fadeTime)
 {
          Task t = new Task(FadeOut(go, fadeTime, false, GO.thatGO));
          new Task(TaskKiller(20f, t));
 }
 public static void FadeOut(this GameObject go, float fadeTime, bool destroy)
 {
          Task t = new Task(FadeOut(go, fadeTime, destroy, GO.thatGO));
          new Task(TaskKiller(20f, t));
 }
 public static void FadeOut(this GameObject go, float fadeTime, bool destroy, GO wichDestroy)
 {
          Task t = new Task(FadeOut(go, fadeTime, destroy, wichDestroy));
          new Task(TaskKiller(20f, t));
 }

The first 2 methods works fine, any error, but when I write the last (the one with an enum as a parameter), I get the error:

error CS0663: Overloaded method `Extensions.FadeOut(this
  UnityEngine.GameObject, float, bool, Extensions.GO)' cannot differ on
  use of parameter modifiers only

I've been searching a lot on the internet and I can't understand why this error.
Any help will be welcome..
Edit:
I forgot to say that the method FadeOut from
Task t = new Task(FadeOut(go, fadeTime, destroy, wichDestroy));

is not the same as the method above. It's
public static IEnumerator FadeOut(GameObject go, float time, bool destroyGO, GO whatGO)

A: This answer is deduced from t34t5 answer mentionning recursive calls.
You can see that the static FadeOut method3 has exactly the same parameters than the FadeOut function called in Method 1 and 2.
There may be a conflict between the new static method 3 and a static / non static method called within method 1 and 2, probably returning a value (i.e. non "void").

A: As I've understood from comments, you have instance method which differs only by return type from your extension method.
So the problem is that return type is not part of signature while overloading used.
Consider this case.
public int Foo() {}
public double Foo() {}

var num = Foo();

Which one should be called?
The same for out and ref parameters.


PLUS… KIDS UNDER 12 GET IN FREE!
We have 100 Wildflower! tickets to sell priced for Richardson residents at only $10 for a single all-day pass. And Sunday, May 22nd is a kids under 12 get-in-free day! The patio is located near the Viewpoint Bank Stage. Convenient parking is $5 and we have some parking passes available if you want to purchase them in advance. Parking passes are for the green parking area close to the HPNA Patio.
PLUS…HPNA will have FREE PIZZA for HPNA members from 1:00 – 2:30 p.m. on Sunday, the 22nd, so purchase your Wildflower! tickets from HPNA, and come to the HPNA Patio to get some free pizza! Sara Hickman will be doing a special event at Kidz Korner at 3:00 that day so you can have some pizza with us and then see Sara's show. It will be a great way to spend the day with your family! (go to www.wildflowerfestival.com for the schedule of headliners).


State police will work with the Federal Aviation Administration to determine whether a North Brookfield man violated any laws when he allegedly flew his powered parachute close enough to the ground to prompt a call to 911 yesterday. A powered parachute is an ultralight type of aircraft.
State and local police searched along railroad tracks and in an area of Route 9 known as �the flats� after receiving a report that a man on some sort of parachute passed over the area yelling for help at about 5:45 p.m.
As a helicopter from the state police air wing passed over the area, Trooper Patrick Robinson and his trained dog Max and officers from Brookfield and North Brookfield joined East Brookfield police and began searching for the man. Firefighters gathered at their station in anticipation of a more extensive search.
Several people reported seeing the parachute flying low and one, who initially called police, believed the pilot was calling for help as the parachute passed near Lake Lashaway. State Trooper Robert Benoit said he spoke with the North Brookfield man, who admitted to being in the area but denied that he was yelling.
Four-wheel-drive vehicles traveled near the rail bed from the flats on the west side of town and officers walked the tracks eastward, looking for any evidence of a downed parachute but found nothing.
Officers eventually learned that a man from North Brookfield may have been flying the device and they went to his home to speak with him after calling off the search around 7 p.m.
Trooper Benoit said the matter has been referred to the FAA to determine whether any charges can be filed.
According to www.powerchutes.com, the aircraft fly 26 miles per hour or more depending on wind speeds and can climb to more than 10,000 feet.


You are a true artist! Your quilts are sensational! It's an honor to be included in your FB postings!
Yes, Becky's Sampler is in indeed so very beautiful! I love everything about this quilt from the various sized blocks, to the fabrics, to the quilting! It is dripping/salivating with charm. I am in love!
This quilt is truly beautiful. Becky did a beautiful job piecing. Love those fig tree colors. Great quilting Terri.
Your quilting design is absolutely perfect for this quilt. Compliments it well. Love quilt top pattern and quilting!!


CALGARY – A familiar face in Calgary is making the jump to politics.
Former Morning News anchor Bruce McAllister has announced he will run as the Wildrose candidate in the new riding of Chestermere – Rocky View.
Joking at the announcement on Friday, Bruce said it was the first news conference he had been to without wearing makeup.
Bruce and his family currently live in Chestermere.
The Wildrose party also announced four other candidates on Friday; Grant Galpin will run in the constituency of Calgary – McCall, Gary Bikman in Cadston – Taber – Warner, Ethane Jarvis in Grande Prairie – Wapiti, and Rick Strankman in Drumheller – Stettler.
Premier Alison Redford has told reporters that a provincial election will be called before June 2012.


This map displays the most up to date rabbit virus monitoring data available. This includes both possible disease and confirmed reports of rabbit virus: (1) Existing rabbit biocontrol agents (Myxomatosis and RHDV1 Czech strain); (2) Known rabbit viruses in Australia, namely RHDV1 (Chinese strain) and RHDV2; and (3) Rabbit biocontrol agent proposed for release in 2017, namely RHDV1 K5.
To add information, please select the Record Potential Disease tab.
New user (Register here) or Login.
5. Rabbit warren at this location?
5a. Number of active entrances?
6. Rabbit dung at this location?
Click on the map where the rabbit was located.
3. What disease do you suspect is present?
Please only submit one sample per record.
4b. Please place your rabbit in a plastic bag and label the bag (eg. Rabbit-1). Record the bag label below, and place the rabbit in a freezer until a sample kit arrives. Please submit a new record for each rabbit.
5. Has K5 been released at this locality recently?


All Viking engines can interface with existing EFIS systems. HOWEVER, it is not desirable. Reason behind this is that the outputs from the Viking engine ECU are not all that is desired by the viewing pilot.
The engine ECU likes to monitor engine temperature, crank shaft position, fuel pressure, camshaft position, manifold pressure, etc.
The pilot would like to know parameters such as oil pressure and gearbox temperature.
Also, why use the valuable screen real-estate of an expensive EFIS screen to view engine data when a beautiful full color navigation map can be displayed instead.


The enclosed garden is ideal for families with small children and has a table, seating and gas BBQ for your exclusive use.
There are three bedrooms, one double with king size bed, one twin with room for additional cot, and a third small bedroom with bunks, suitable for children. There is a beautifully appointed, fully tiled bathroom with combined bath / power shower.


text:
Q: How to send a message to a person in my telegram bot? I want to send a text message to a person that is in my telegram bot. I tried to do it with the following code but it didn't work. How do I get this done?
bot.SendTextMessage(chat_id,"message");

A: What library are you using? Have you tried telegram.bot or TLSharp?