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Next up in our Episode #4 band interviews is Bloodlines.
So, tell us a bit about yourselves… who you are, where you come from and how did you get your band name?
"We are a Glasgow based band called Bloodlines, 50% of us are from Fort William and the others are from Ayr and Inverness. We got our band name after months of debate, multiple powerpoint presentations and through thorough market research and development. In our current line up we have only been performing together for 10 months but the band has been bubbling away in a variety of other concoctions since the mid 00's."
Who are your main influences, obvious or otherwise?
"Between us we have very diverse tastes… we draw influence from bands such as Foals, RATM, Biffy Clyro, RHCP, Pulled Apart By Horses, Computers, Drug Culture, Tiger Woods. Our bassist is a huge Iggy Azalea fan and our lead singer voices his major influences on his "Top of the Plops" podcast enjoyed by listeners all over… Kinning Park."
If you could make one thing easier for relatively small, yet progressive bands, what would it be?
"Genuinely decent performance opportunities to expand your audience… gigs being promoted properly and ran professionally without screwing over the bands."
Can you put into words just how damn happy you are to be playing Episode #4 on Saturday?
"We all came simultaneously upon being invited to perform at Episode #4."
And for the rest of 2016, are there albums, EPs, festival appearances, world tours etc on the horizon?
"We plan to be releasing fresh material over the coming months, some of which was previewed to a very warm reception at our King Tut's Headline show last month. We will definitely be in the studio, recording fresh music later this year. Keep your ears peeled."
"Why would you say that?" "What?" " 'Keep your ears peeled.' You sound like a fuckin' wank mate!" "I suppose potatoes are for pealing and ears are for listening, HA!" "Seriously?! Shut it ya knob!"
Any ambitions as a band, sensible or otherwise?
"We are extremely keen to venture further afield this year, at least south of the border and hopefully beyond. We are in the process of making friends in Europe in order to take our music on to the continent. If there are any wealthy sexually curious philanthropists of any age gender or orientation Andy is your man."
Your favourite music festivals, to play or attend?
"Belladrum is definitely our favourite Scottish festival to have both played and attended. The distinct lack of bams gives the festival a character which is far more favourable to that of other UK majors. We were lucky enough to survive Bute-fest last year after the first aid tent blew away in a gail and are genuinely hoping to be invited to perform at this years event as it was a blast. We'd love to have the opportunity to play some festivals abroad I think that will be one of our primary goals for 2017."
If each band member was a film or tv show character who would they be?
"Scooby Doo and Co. Jamie Allanach is Fred: Handsome, charming, big shoulders, but a bit of an idiot. Jamie Coltart: Velma: The brains, holds the whole thing together. Steve: Scooby: why not. Andrew MacGillivray: Shaggy. And Daphne is a figment of our collective imagination."
Three bands you'd love to share a stage with?
"Fat Goth, Watchfires and Lionel Richie."
Vinyl, cd or download?
"They're all great… Vinyls are great to fire on when you're at home and know exactly what you want to listen to, CD's are great for road trips, and downloads are great for discovering new music and listening to when you're on foot… they all have their purpose and place."
I think the current Scottish music scene is as strong as it has been for a few years, your thoughts on that?
"There are definitely a huge number of great bands coming through but it is tough… not just in terms of competition but you have to network. It's all about who you know in this game. There are so many brilliant artists that are no more simply because they weren't in the right place at the right time or just weren't put in touch with the right people."
Huxtable from Kilmarnock are fantastic live the guitarist is a riff factory… really energetic and exciting to listen to. Donnie Willow are a great band… they sound like a mix of the first three Biffy albums.
Your five desert island tracks?
"Give It All – Rise against, Hermaphrofight – Biffy Clyro, Spanish Sahara – Foals, Agadoo – Black Lace, A Thousand Miles – Vanessa Carlton."
And finally, your favourite flavour of crisps?
"Tesco's Salt And Cider Vinegar, any crisps that were previously affectionately known as 10p crisps."
Thanks for your time guys, and we look forward to seeing you all on Saturday. You can find Bloodlines on Facebook and on their website.


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Redeemer Lutheran College was established at the beginning of 1980 in a rural setting at Rochedale on the southern outskirts of Brisbane. The founding Headmaster was a distinguished Lutheran educator, Mr L R Kleinschmidt OAM.
In the first year of operation it enrolled fifty six students in Year 8 with all classes in one building. The college was officially opened on 13 April 1980, by the then Premier of Queensland, Sir Johannes Bjelke-Petersen.
Redeemer developed a strong academic tradition and in 1994 was number 6 in the Courier Mail's list of Queensland's Top 20 schools. In 2005, 60% of eligible Year 12 students received an OP of between 1 and 10, well in excess of the state average, and in 2009, nine students received OP1.
In 1999, Redeemer opened a Middle School for students in Years 6, 7 and 8 which more effectively meets the particular social and education needs of that age group. Its success was the subject of a case study in the Queensland Government's White Paper on Education and Training Reforms for the Future.
The founding Headmaster, Mr Robin Kleinschmidt retired in 2001 following 20 years of service to the college. Following Mr Kleinschmidt's departure, Mr Richard Hauser was appointed as Head of College in 2002 until his retirement at the end of 2008 when Mr David Radke was appointed as Principal and served in this role from 2009 until the end of 2016. Mrs Tanya Crooks commences as Redeemer's fourth Principal in January 2017.
A Junior School for Prep to Year 5 was added in 2007 offering a seamless education for Prep through to Year 12, with the first permanent Junior School building (JB Block) opened in 2011 together with the Multi-Purpose Centre (MPC). This facility is located in the Junior Schools. The Multi-Purpose Centre provides a multi-purpose stage; basketball court; amenities; a canteen; and three Junior School classroom spaces and a Music Classroom (JB Block), as well as a Junior School Learning Enhancement Centre (downstairs).
In 2012, Queensland Premier Campbell Newman officially opened JG Block located on the edge of the Junior School. This two storey classroom building incorporates three classrooms on each level. A brand new Junior School Playground was also constructed as part of the project.
Redeemer Lutheran College was awarded the prestigious Prince Albert Cup in 2013, acknowledging past student Andrew Trotter (Class of 2004) as Redeemer's first ever Rhodes Scholar. Other recent notable Alumni include: Claire Small (86) Qantas 2015 Australian Woman of the Year in the UK; Matthew Keith (93) Australian Farmer of the Year 2016; Hon Mick De Brenni (94) State Member for Springwood, Minister for Housing and Public Works; Tim Delport (09) Sir John Monash Scholar 2017.
The College has a great reputation for providing a caring, secure environment for its students. Discipline with Christian love and forgiveness has always been an integral part of Redeemer's philosophy.
In 2014, Redeemer's sub-school campus structure changed to Prep to Year 6 for the Junior School, and Years 7-12 for the Senior School years. A specifc Middle Years program was introduced in the Senior School for students in Years 7-9.
The College's Master Plan for 2018 and Beyond was launched in March 2018.
In 2020 Redeemer launched its new purpose statement for the College, which is that we're empowering Curious, Courageous, Christ-led learners who co-create and serve God's world.
40 Years of Flashbacks: 1980-2020
Across 2020 as we have celebrated the 40th Anniversary since the establishment of Redeemer Lutheran College, we have also enjoyed looking back at some of the special memories, milestones and people who have helped shape Redeemer into the College that we know and love today. Enjoy this look back at the journey of Redeemer Redeemer Lutheran College.
Rochedale's history and the Nott family
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Size en iyi deneyimi sağlamak üzere Piccolino Hyde Park Hotel teknik, analiz ve pazarlama amaçları için kendi ve üçüncü taraf çerezlerini kullanır. Sitemizde gezinmeye devam ederek çerez kullanımımızı kabul etmiş olursunuz. Lütfen daha fazla bilgi için Çerez Bildirimimize göz atın.
How to reach?
London Guide
Piccolino Hyde Park Hotel
14 Sussex Place, Paddington
Westminster Borough
W2 2TP
info@piccolinohotel.co.uk
Leighton House Art Gallery Museum
Leighton House was the home of Frederic, Lord Leighton, (1830-1896), the great classical painter and President of the Royal Academy.
Hogarths House
Hogarth's House in Chiswick was built around 1700 and was the country home of the great painter, engraver and satirist William Hogarth from 1749 until his death in 1764.
The Freud Museum was the home of Sigmund Freud and his family when they escaped Nazi annexation of Austria in 1938. It remained the family home until Anna Freud, the youngest daughter, died in 1982.
Linley Sambourne House
Linley Sambourne House was the home of Edward Linley Sambourne a leading Punch cartoonist of the late Victorian and Edwardian period.
You don't have to be a cricket lover to be thrilled by Lord's. When you tour this world-famous arena you tread in the footsteps of the giants of the game
Fenton House is a late 17th-century construction with an outstanding collection of porcelain, 17th-century needlework pictures, Georgian furniture and early keyboard instruments, most of which are in working order.
Kew Bridge Steam Museum
Come to Kew Bridge Steam Museum and see our wonderful collection of water pumping machinery. Many of our engines are in steam every weekend.
Burgh House & Hampstead Local History Museum
Burgh House is a handsome Queen Anne house in the heart of Old Hampstead, with original panelled rooms and staircase, and wrought-iron gates.
Musical Museum
During your visit to the Musical museum you will experience the fascinating world of automatic musical instruments through a continuous demonstration in which the instruments are explained and played.
Royal Botanic Gardens Kew
The world famous Kew Gardens offers visitors something of interest in all seasons: Displays of welcome spring flowers, colourful summer borders and the tints of autumn to be found in the arboretum.
This house is one of Britain's most important examples of Modernist architecture; the former home of Erno Goldfinger and designed and built by him in 1939.
Keats House Museum
This charming house, once two regency cottages, was the home of romantic poet John Keats from 1818 until 1820.
Church Farmhouse Museum
Hendon Borough Council purchased Church Farmhouse, restored it and opened it as a museum in 1955. It is furnished as a Middlesex farm house and is the main repository for local artefacts from an area stretching from Edgware to Hampstead.
Boston Manor House
Boston Manor House is a fine Jacobean manor house built in 1623 and situated in parkland containing a lake and ancient cedar trees.
London Zoo, the most famous Zoo in the world, is situated on the north side of Regent's Park. London Zoo first became established in 1828, housing animals for scientific study.


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"The Fresh Prince Of Brooklyn" Apollo Griffin
Thread: "The Fresh Prince Of Brooklyn" Apollo Griffin
Name*: Apollo Griffin
Nickname: "The Fresh Prince of Brooklyn"
Date of Birth*: 2/4/95
Place of Birth: Brooklyn, New York
Currently Residing*: Brooklyn New York
Height*: 5ft 10in
Weight*: 200
Gimmick*: "The Fresh Prince Of Brooklyn" is a promisingbluechipper talent from Brooklyn, New York. A high school athletic standout excelling in several sports. He's a former two-time state champion freestyle of wrestling and a point guard for his high school team, it seems like he has all the tools needed to make an impact in this business…..
So you might be surprised to find out that in his first professional year as a wrestler, he's won exactly zero matches, every single match of his career on the independent circuit has ended with his shoulders on the mat… Which if you took the time to read the above, really doesn't make sense.
He has all the tools needed to make a name for himself in pro wrestling (Well, to be honest, he's kind of bland on the mic. He's a genetic white meat babyface...but he's young it's to be expected)
So what's the problem?
The problem isn't with Apollo personally, but rather the company he keeps, namely his manager: Jeff Potter a former pro wrestler/ pro wrestling enthusiast who Apollo feels indebted to because he paid for his time in wrestling school, and that's all well and good. Except for one problem: Jeff Potter is bar none the the worst manager professional wrestling has ever seen. He's so bad, so abysmal that practically every defeat Apollo has suffered could be contributed in a large way to Potter's "Unique" management style. It's good that Apollo is so young because Potter has no doubt set his career back by YEARS, with his hair brained schemes and ideas -See below- Time will only tell if Griffin is able to make something of himself in CWA with that massive albatross around his neck
Disposition*: White Meat Face
Wrestling Style*: Apollo is a great athlete, he uses speed and momentum to dart around the ring, leaping, jumping, flying off of whatever he sees fit to launch. He's tweaked his style to be less heavy of the crossbody type stuff and just starts striking, hitting hard., if he's in the air, he's there to kill, This kid has aton of heart. His energy and enthusiasm might be his biggest asset but it can also be a drawback, he could get over-excited and lose his focus when he should be finishing the job. He's learning and has the drive to improve himself daily but to point it bluntly: He's green. Due to the lack of experience, his timing isn't always correct and he screws up from time to time, but he's pledged to keep improving himself. Not to mention the constant presence of Potter on the outside, will always serve to distract him in some way or another.
Wrestling Abilities*: (Rank from 1-5, 1 being your best) Speed (1) Technical (2) Power (4) Brawling (3) Charisma (5)
Signature Taunts/Poses:
Catchphrase:" None at the moment but not for lack of trying, in his increasing attempts to make his client a superstar almost every day he tosses out new catchphrases, each one more inane than the last
Entrance theme: You Can't Stop Me" By Alan Gold
Belly-to-belly suplex
Diving clothesline, sometimes while springboarding
Multiple kick variations
Concussion on Delivery (Drop, sometimes to a cornered opponent)
Enzuigiri
Jumping corkscrew roundhouse
Springboard roundhouse
Reverse STO
Somersault plancha
Split-leggedmoonsault
Springboard clothesline
Signature Moves*
Air Griffin (Springboard spinning wheel kick to the back of an opponent's head)
V.S.D. (Victory Star Drop) (Apollo applies abodyscissors to an opponent on the top rope and then performs a backflip, driving the opponent head first into the mat)
Side-hammerlock double-knee backbreaker
Ropewalk springboard dropkick to a cornered opponent
Russian Leg Sweep transitioned into a cross armbar
Koji Clutch
Repeated elbow and/or knee strikes to a cornered opponent
Multiple doublefoot stomps to a seated opponent in the corner
Rope hung snap swingingneckbreaker
Release German suplex
Multiple kicks and knee strikes
Regular Finishing Move*: (One only)
-Shining Wizard
Previous Experience (If any):
Been wrestling (And losing) on the indy circuit for the last year and a half
Injury History (If any):
Name of character representative*: Cedric Alexander
"Uncanny" Jeff Potter- The Worst Wrestler Of All Time
Manager*: Yes
Manager Name: "Uncanny" Jeff Potter
Manager Date of Birth: 25/4/1961
Manager Gimmick: "Uncanny" certainly describes Mr Potter to a tee...though probably not in the way he would hope for.
If you were to ask Jeff Potter to describe himself he'd tell you he's a modern day renaissance man. A mentor. A teacher, a spiritual guide and just generally an intellectual guru.
Ask anyone else and each and every one of them would call him the single most irritating little idiot they ever had the misfortune of meeting.
A man totally oblivious to his own buffoonery and dressed like your dad having the worst mid-life crisis in history, Jeff has dreamed of one day being a world champion since he was six years old, so much he dropped out of high school to train "Himself" and he made his debut at the tender age of 16 years old and competed for a staggering thirty years all the while just dreaming… of getting that big break….
-Jeff Potter in his *cough* "prime"
But it never happened, for one small reason; "Uncanny" Jeff Potter stunk up every arena he competed in. There's no other way of saying it: He sucked. He sucked bad. Potter's style of "wrestling" was abysmal in every possible way. He looked like Bambi on ice in the ring and seemed incapable of pulling off even the simplest of manoeuvres without butchering it horribly (He once got a concussion trying to hook his opponent's leg) Promoters would see his tapes and laugh their asses off, thinking this was some kind of Kauffman-like stunt. Because surely this guy wasn't serious right? From his hideous offence that would give Bret Hart another stroke. To his disgusting ring gear consisting of nothing more than a bright neon pink leopard skin singlet and ear-bleedingly terrible entrance music ("Nothing going to stop us" by Starship) Everything about him just screamed "BAD. BAD. OH MY GOD SO BAD" One story that has become a favorite in wrestling locker rooms around the globe and footage of which has gone viral on the internet was at an event in 1999 where Potter slipped while stepping up on the apron, he fell face-first onto it (Breaking his nose in the process) and then staggered back only to trip on a cable and went head-first into the front row….That was his entrance
Eventually, he just got booked because people were rolling in the aisles laughing their asses off at his incompetence making him something of a minor cult hero on the indy scene. After thirty years he hung up the leopard skin in a retirement match in 2005.
….The match was held at a county fair…
….Two people came….
...The match had to be called early after Potter sprained his ankle trying to do an Irish whip…
Still, on the bright side he does have a special place in wrestling history; in 2009 he was voted by Pro Wrestling Magazine's "Worst Wrestler of All Time" So that's something right?
After he retired he spent the next few years working as a used car salesman still passionate about pro wrestling than ever he watched wrestling shows when he could...It was in one of those shows in late 2015 he met a young wrestler by the name of Apollo Giffen, instantly Potter was quite taken with the Prince of Brooklyn, admiring his heart so out of impulse he offered to pay for the rest of his training and to manage the rest of his career.
Apollo was at first taken aback by this, he was in blissful ignorance of who exactly he was talking to...but if he was offering to pay for his training...what was the harm right?
Maybe have claimed that Potter is living vicariously through his "Apprentice" and is using him to get himself over and with the way he acts at ringside it's hard to argue that, He yells...A LOT. He cheerleads quite creatively and he has a habit of getting far too excited for his own good and get on the ring apron, pretty much making it impossible for his charge to focus on his match...which costs him so many times.
Surprisingly enough the good people at FWA, saw quite a talent in Apollo and had actually contacted Potter about sending him to their developmental area in nGw….but Potter thought it was a prank and kindly told Tomas Princeton to "Fuck the fuck off"
Looking to make amends for this Potter somehow managed to get the personal phone number of Afa Seanoa who agreed to give Griffin a try out...if Potter just stopped crying
Manager Disposition: This is a bit of a weird one. For all intents and purposes, Potter should be considered out and out heel. He's quite possibly the most irritating obnoxious person you'll ever likely to meet….but at the same time….there's something oddly endearing about him, everyone loves a loser right? And there's no bigger one in wrestling then Jeff Potter. He's a dog whose been kicked around far too much
Last edited by An Original Name; 04-22-2017 at 04:02 PM.
Re: "The Fresh Prince Of Brooklyn" Apollo Griffin
Best manager idea ever.
WC Hall Of Famer
This is great, I love it.
I can't wait to see how you do with this.
Rest in power, Flock U
Rest in power, TCON
Team Cyrus T is Best for Business
Originally Posted by Ed
Stop the hating of the E-Feds. If you don't like something, that's fine, just ignore it and let the people who do enjoy what they're here on WC to do. Mocking them to make you feel less of a geek for being on a geek on a wrestling forum is lame. If you want to not read their posts, I can fix that for you.
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Woodhouse Lane Car Park0113 395 0050work Car ParkCheap, safe, central parking, ideal for city centre shopping. Close to First Direct Arena, Leeds General Infirmary, Leeds Town Hall, and universities and much more.
Pay by mobile phone
Pay stations on all levels (cards accepted)
Onsite Security
Easy access to motorways and major roads out of the city
Car valeting service.
Disabled parking – 24 spaces (level 1 and level 7)
Lift to all floors
Staffed Helpdesk
Visit their website for the up to date pricesWoodhouse LaneLeedsLS2 9AQ United Kingdom53.808447000000-1.551775200000https://www.leeds.gov.uk/parking-roads-and-travel/parking/city-centre-car-parks/woodhouse-lane-car-park
Woodhouse Lane Car Park
Cheap, safe, central parking, ideal for city centre shopping. Close to First Direct Arena, Leeds General Infirmary, Leeds Town Hall, and universities and much more.
Visit their website for the up to date prices
www.leeds.gov.uk/parking-roads-and-travel/parking/city-centre-car-parks/woodhouse-lane-car-park
Open 24 hours, 7 days a week
Please visit their website for the latest prices
Leeds Parking Services
Woodhouse Lane,
LS2 9AQ
The car park can be accessed from two directions.
Either take the A660 into Leeds and take the slip road onto the A58 - signposted A64 York. Then follow the signs for Multi Storey car park.
Alternatively, on the inner ring road (A58) Eastbound, take the slip road for the A660. Then follow the road round, but take the first left before you arrive at the traffic lights.


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interface A {
    public int foo();
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interface C extends A {
    public int foo();
}

class D extends B implements C {
    public int foo() {
        return 4;
    }
}

redpajama_set_name: RedPajamaGithub


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Germany: Arms exports approvals down a quarter
The Economy Ministry has reported a 23 percent downfall in arms exports approvals in 2018, one of the biggest in years. A moratorium on all arms exports to Saudi Arabia was a major factor in the significant decline.
The German government approved nearly 23 percent fewer arms exports in 2018 compared to the previous year. That is according to an Economy Ministry response to an inquiry from Green Party lawmaker Omid Nouripour published in local media on Thursday.
Total arms exports approvals amounted to €4.82 billion ($5.47 billion) compared to €6.24 billion in 2017. A downward trend has been recorded every year since 2015, when Germany exported a record-breaking €7.86 billion in arms.
The report cited the government's decision in November to stop all arms exports to Saudi Arabia in response to the assassination of Saudi critic and journalist Jamal Khashoggi. However, the government was already considering a ban due to Saudi's involvement in the brutal war in Yemen.
Read more: German arms industry threatens government with compensation claims
'No permits' for Saudi Arabia
The arms trade can be a controversial subject in the country, in part due to Germany's World War II history. Exporters must receive approval from Germany's Economy Ministry before completing a deal, with several more government ministers and the chancellor involved in the decision-making process.
"There are currently no permits for arms exports to Saudi Arabia," an Economy Ministry spokesperson said on Wednesday.
The Saudi ban is only valid until March, according to media reports. The government will then decide whether to renew it. However, coalition partners, such as the Social Democrats, have voiced support for extending it.
While approvals were down for 2018, arms exports to Saudi Arabia and Turkey had surged. The deliveries were part of deals that had been closed years before.
Read more: Germany and Saudi Arabia: Weapons for a 'strategic' partner
Watch video 04:25
The weapons in Yemen's war
Permalink https://p.dw.com/p/39DCH
Following the trail of weapons used in Yemen's civil war
Other factors involved
However, some have expressed skepticism about previous arms exports figures provided by the government.
Katja Keul, Greens spokeswoman for disarmament policy, told DW last year that political developments may have contributed to the decline, including an interim government "that postponed major decisions," citing projections released in August.
She also highlighted an increase in light weapons sales last year, saying: "Light weapons can spread as uncontrollably as small arms, but are often even more destructive."
Every evening, DW's editors send out a selection of the day's hard news and quality feature journalism. You can sign up to receive it directly here.
Curbing the Spread of Deadly Small Arms
Permalink https://p.dw.com/p/1BD41
ls/rt (dpa, AFP, Reuters)
Surge in German arms sales to Saudi Arabia and Turkey
German arms exports to Saudi Arabia and Turkey rose last year, eclipsing sales in 2017, despite public criticism. The trend follows a question in parliament submitted by the opposition Left party. (10.01.2019)
Germany and Saudi Arabia: Weapons for a 'strategic' partner
Saudi Arabia is one of the German arms industry's top customers, despite human rights concerns over Yemen. It took the murder of Saudi journalist Khashoggi for Germany to temporarily halt arms exports. DW investigates. (05.12.2018)
German arms industry threatens government with compensation claims
As German weapons exports dropped for a third consecutive year, a lobbyist has criticized Germany's export policy as "unpredictable." New figures show exports dropped sharply in 2018. (28.12.2018)
Yemen: The devastating war waged with European weapons
DW commissioned the Jordan-based group Arab Reporters for Investigative Journalism to find out where terrorist groups waging Yemen's devastating conflict are procuring vast weapons stockpiles. The conclusion: Europe. (30.11.2018)
Germany issuing travel bans to 18 Saudis over Khashoggi's death
Germany is banning 18 Saudi citizens suspected of being involved in Jamal Khashoggi's death from entering Europe's Schengen zone. The government says it is also halting previously approved arms exports to Saudi Arabia. (19.11.2018)
Germany: Small arms exports down, light weapons up
The German government has approved less small arms exports during the first six months of 2018 compared to last year. But critics have cast doubt on the decrease, saying light weapons sales have grown significantly. (21.08.2018)
WWW links
DW Newsletter
Audios and videos on the topic
Related Subjects Saudi Arabia
Keywords arms exports, economy, Saudi Arabia, Omid Nouripour
Permalink https://p.dw.com/p/3BgTC
German arms export approvals spike 11.07.2019
Permits for German arms exports soared in the first half of 2019, defying dips and restraint over the past three years, government data has shown. Hungary is the top destination for new weapons exports.
Qatar experiences economic boom thanks to embargo 10.07.2019
Qatar got a shock when a coalition led by Saudi Arabia, the UAE and other neighbors imposed an embargo in 2017. The tiny emirate faced collapse. But in retrospect it may have been a salutary shock; Qatar's economy is now flourishing.
UK arms sales to Saudi Arabia declared unlawful by court of appeal 20.06.2019
Prime Minister Theresa May has expressed disappointment over the court's ruling and said her government would seek permission to appeal. Campaigners say the UK-Saudi arms deal violates international humanitarian law.
Switzerland celebrates rare wine festival 28m ago
Iran's Revolutionary Guard report capture of UK tanker 38m ago
Russian suspect in tainted oil scandal seeks asylum in Lithuania 54m ago
Bulgaria makes biggest military acquisition since fall of communism 2h ago
Austrian, German tourists fined in Italy for hammock, coffee incidents 2h ago
DW News on Facebook 11.07.2017
Follow @dwnews on Twitter 11.07.2017


Can Statistics Make You Rich?
Any type of gambling involves a blend of skill and luck, and the chances of winning are bound up in mathematical probabilities – or statistics. We see it in horse racing when a certain horse is at 10/1, and we see it in the casino, where the odds of winning on red are just a little worse than even money.
To understand the theory, the casino is the perfect place to start. On a roulette wheel, there is nowhere to hide and no skill involved. It all comes down to two simple parameters: The odds of winning and the success rate. If you bet on red, you will get even money odds, equating to 2.0. The success rate is the number of red slots divided by the total number of slots on the wheel, which comes to 0.486. Multiply these and you get 0.973 – in other words, a win rate of 97.3 percent, or a house edge of 2.7 percent.
In blackjack, on the other hand, there are numerous strategies you can employ, in terms of hitting, standing, doubling down, card counting and so on. A skilled player can reduce the house edge from around four percent to about 0.7 percent. Give it a try – the Casino Apps website has a whole list of online casino apps that you can download here. Take some time to learn the basic blackjack strategy and watch how your success rates improve.
Racing fans would argue that there is even more skill involved in betting on the horses than there is in playing blackjack. There is certainly more data to go on to inform your wagers, but to make money, you need to apply that same mathematical equation.
The first thing you need is data. Keep a record of every wager you place, including the odds, the amount staked and the result. Only with this information can you work out your average odds and success rates. When we multiply these factors together, we need the product to be more than 1.0 to come out on top.
Clearly, if you can make the number higher, you will end up winning more money. There are two ways to do this: Increasing the odds or increasing the win rate.
This sounds the most obvious, but is actually the more complex of the two parameters, simply because there are so many factors involved. Studying form is one thing, but you also need to take into account how a horse performs in different conditions, such as the number of horses in a given race, the ground conditions, even the size and enthusiasm of the crowd.
Alternatively, you can increase the odds. Crucially, this does not mean changing your strategy and betting on higher risk horses. It simply means shopping around to get the best possible price. The online betting phenomenon makes this simple. Decide which horse to bet on, then explore as many bookmakers as possible to get the best odds going.
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text:
Preparando-se para um Baile de Vestidos Chiques, ou The Misses Williams-Wynn,é uma pintura a óleo sobre tela do artista inglês William Etty, datada de 1833. Encontra-se na York Art Gallery, da cidade de York, Inglaterra

Embora, na altura da composição desta obra, Etty ser conhecido quase em exclusivo pelas suas pinturas sobre história, incluindo figuras nuas, foi contratado em 1833 pelo político conservador galês Charles Watkin Williams-Wynn para pintar um retrato de duas das suas filhas. Esta pintura mostra Charlotte e Mary, num luxuoso traje de estilo italiano: Charlotte, a mais velha, está de pé, ajudando Mary, sentada, a arranjar o seu cabelo com uma fita e uma rosa. Etty dedidou muito tempo e esforço nesta pintura, demorando mais tempo a elaborá-la relativamente a outras.

A pinturas foi terminada para ser exibida na exposição de Verão de 1835 da Academia Real. De uma forma geral, foi bem recebida, mesmo pelos críticos mais hostis às obras de Etty. Preparando-se para um Baile de Vestidos Chiques prova que Etty era, em simultâneo, capaz de pinturas de alta-qualidade e de merecer a patronagem da elite inglesa, o que lhe fez receber mais encomendas. Este trabalho permaneceu na colecção dos descendentes de Mary Williams-Wynn e, para além de uma exposição retrospectiva de 1849, esteve guardada durante 160 anos. Um coleccionador privado adquiriu a pintura à família Williams-Wynn em 1982, onde esteve até à sua compra em 2009 pela York Art Gallery.

Veja também
 Pinturas de William Etty

Bibliografia

Pinturas de William Etty
Pinturas da York Art Gallery
Pinturas de 1833

redpajama_set_name: RedPajamaWikipedia


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At this year's Skift Global Forum in New York City, travel leaders from around the world gathered for two days of inspiration, information, and conversation. There were interviews, panel discussions, and solo TED-like talks on the future of travel.


text:
\section{Introduction}

In 2002 \cite{BBS1} we have proposed a description of the parton distributions
inspired by quantum statistics with some robust phenomenological motivations.

1) The defect in the Gottfried sum rule \cite{Gott,NMC}, implies $\bar d(x) > \bar u(x)$,
 advocated many years ago as a consequence of the Pauli principle \cite{Pauli}. This
inequality has been confirmed by Drell-Yan production of muon pairs \cite{DY}, up to some moderate
$x$ values and remains to be verified for $x>0.2$ or so.

2) The dramatic decrease at high $x$ of the ratio of the structure functions $F^n_2(x)/F^p_2(x)$ \cite{SVS}, strongly connected to
the behavior of $d(x)/u(x)$, which is predicted to flatten out for $x>0.6$ \cite{BBS3}.

3) The fast increase at high $x$ of the double longitudinal-spin asymmetry
 $A_1^p(x)$, which implies the dominance, in that region, of the $u$-quark
with the helicity along the polarization of the proton target.\\
The correlation between the shapes and the first moments dictated by the Pauli
principle, allowed us to describe with a small number of parameters both
the unpolarized and polarized distributions with the important consequence
to predict a positive value for $\Delta \bar{u}(x)$ and a negative one for
$\Delta \bar{d}(x)$, giving a positive contribution to the Bjorken sum rule \cite{BJ}.\\
Typical predictions of our approach, as the monotonic increase of the positive ratio
$\Delta u(x)/u(x)$ and decrease of the negative ratio $ \Delta d(x)/d(x)$, are in a good agreement with
experiment \cite{hermes,JLab}. It should be stressed that our prediction on $ \Delta
d(x)/d(x)$ does not correspond to the belief that this quantity, according
to the counting rules, should change sign to reach +1 for $x = 1$.

In earlier works \cite{BBS4,BBS5}, we succeeded to explain the arbitrary factors, which were
necessary to agree with data by the extension to the transverse degrees
of freedom and we constructed a set of transverse momentum dependent (TMD) statistical parton distributions.
Here we want to improve our approach by considering the longitudinal momentum of the proton target $P_z$ finite and not $\infty$, as it is only
in the limit $Q^2 \rightarrow \infty$.\\
The paper is organized as follows. In the next section we review the construction of the statistical distributions and then we derive the exact transverse energy sum rule, the TMD statistical distributions and the expression of $P_z$ as a function of $Q^2$ and $x$. In section 3 we recall the expression of the Melosh-Wigner transformation which has an important role for the TMD helicity distributions, as will be shown in section 4. We give our concluding remarks in section 5. A useful transformation to simplify the calculation of integrals over the transverse momentum of the partons is
given in the Appendix.

\newpage
\section{The statistical approach}
In our previous papers \cite{BBS1,BBS3} we took the following expression for
 the {\it nondiffractive} contribution
of the quark distributions $q^{h}(x)$ of flavor $q$ and helicity $h$, at an
input energy scale $Q_0^2$
\be
x q^{h}(x) = \frac{A X_{0q}^{h} x^b}
{\mbox{exp}[(x - X_{0q}^{h})/{\bar x}] +1} \,,
\label{eq1}
\ee
where $X_{0q}^{h}$ plays the role of a {\it thermodynamical potential} and
$\bar x$ of the {\it universal temperature}.
Correspondingly for antiquarks we took the expression
\be
x \bar q^{h}(x) = \frac{\bar A  x^{\bar b}}
{X_{0q}^{-h}\left[{\mbox{exp}[(x + X_{0q}^{-h})/{\bar x}] +1}\right]} \,,
\label{eq2}
\ee
which shows a strong connection between quarks and antiquarks of opposite
helicity. In order to take into account the uniform rapid rise of all distributions in the very low $x$ region, we had to add to the above nondiffractive contributions, for quarks and antiquarks, the following {\it diffractive} contribution
\be
x q^{D}(x) = \frac{\tilde A  x^{\tilde b}}
{\mbox{exp}(x/\bar x) +1} \,,
\label{eq2d}
\ee
which is flavor and helicity independent.\\
 Finally the expression for the gluon
distribution was
\be
xG(x) = \frac{A_G x^{b_G}}{\mbox{exp}(x/\bar x) -1}\,,
\label{eq3}
\ee
since the potential of the gluon $X_{0G}$ must be zero.\\
{}From the well-established features of the $u$ and $d$ quark distributions,
extracted
from Deep Inelastic Scattering (DIS) data, we could anticipate some simple relations
between
the corresponding potentials, namely
\beq
X_{0u}^{+}& >& X_{0u}^{-} \label{eq4} \\
X_{0d}^{-}& >& X_{0d}^{+} \label{eq5}\\
X_{0u}^{+} + X_{0u}^{-}& >& X_{0d}^{+} + X_{0d}^{-} ~.\label{eq6}
\eeq
Clearly these partons distributions $p_i= q, \bar {q}, G$ must obey the
momentum sum rule, which reads
\beq
\sum_i \int_0^1 x p_i(x) dx &=& 1~. \label{eq7}
\eeq
To  account for the factors $ X_{0q}^{h}$ in  the numerator of Eq.(\ref{eq1})
and $ X_{0q}^{-h}$
in the denominator of Eq.(\ref{eq2}), we extended our analysis to the
transverse
degrees of freedom \cite{BBS4}. If $p_T$ stands for the parton transverse
momemtum, the corresponding TMD statistical distribution
$p_i(x,p_{T}^2)$ is normalized such that $\int p_i(x,p_{T}^2) dp_{T}^2 =
p_i(x)$. Let us denote by $E$ the energy of the proton target of mass $M$ and
longitudinal momentum $P_z$. By definition the $z$ axis is along the direction of the proton momentum and this implies its transverse momentum
$P_T$ to be zero. The deep inelastic regime, where parton model may be applied, is at high $Q^2$ and in that limit, one may neglect $M$ with respect to $P_z$. However at very small $x$, one may not neglect $p_T$ with respect to $xP_z$. The proton
energy is taken to be $E=P_z + M^2/2P_z$. Similarly the energy of a massless parton, such
that $xP_z >> p_T$, is $xP_z + p^2_T/2xP_z$.
So by writing a sum rule for the energy of the partons analogous
to (\ref{eq7}), we see that it does not depend on $P_z$ and one gets now
\begin{equation}
M^2 = \sum_i \int_0^1dx \int_0^\infty p_i(x,p^2_T)\frac{p^2_T}{x}dp^2_T~.
\label{eq8}
\end{equation}
As explained first in Ref.\cite{BBS4} and more recently in Ref.\cite{BBS5}, an
improved version, this energy sum rule implies the $p_{T}^2$ dependence of the nondiffractive contribution of the quark distributions to be
\be
\frac{1}{\mbox{exp}(p^2_{T}/x \mu^2 - Y_{0q}^h) +1} \,,
\label{eq9}
\ee
where $Y_{0q}^h$ is the thermodynamical potential associated to the parton
transverse momentum $p_T$ and
$1/\mu^2$ is a Lagrange multiplier, whose value is determined by the transverse
energy sum rule.\\
Before moving on, we would like to make an important remark on the implication of the above transverse energy sum rule.
If one makes the commonly used assumption that $p_i(x,p_T^2)$ obeys a factorization property, such as, $p_i(x,p_T^2) = p_i(x)\cdot f_i(p_T^2)$, then Eq.(\ref{eq8}) implies that $\int_0^1dx~p_i(x)/x$ must converge.
Consequently for all partons, the small $x$ behavior is strongly constrained, since it must vanish like $x^{\alpha_i}$, with $\alpha_i >0$. This is in obvious disagreement with the observed rapid rise of sea quarks and gluon in the very small $x$ region. We conclude that our transverse energy sum rule does not allow the simplifying factorization assumption for the TMD distributions.

\subsection{Transverse energy sum rule and $p_T$ dependence}

The approximations $P_z >> M$ and $xP_z >> p_T$, valid in the limit $P_z
=\infty$, bring in an unphysical singularity for $x \rightarrow 0$, where
evidently $xP_z$ is not larger than $p_T$.
We have the relations
\beq
E &=& \sum_i E_i \label{eq8a} \\
E -P_z &=& \sum_i(E_i -p_{zi})   \label{eq9a} \,,
\eeq
where $p_{zi} = x_{i}P_z$,
$E_i = \sqrt{x_{i}^2P_z^2 +p_{Ti}^2 +m_i^2}$ is the energy of quark $i$,
and $E = \sqrt{P_z^2 + M^2}$. From now on we shall neglect the quark mass $m_i$. By multiplying both sides of Eq.(\ref{eq9a}) by
$E +P_z$ and inside the summation, both numerator and denominator, by $E_i +p_{zi}$, we get
\beq
M^2 &=& (E +P_z) \sum_i \frac{(E_i -P_i)(E_i +p_{zi})}{(E_i +p_{zi})}
p_i(x_i,p^2_{Ti})\label{eq10a}\\
&=& (E +P_z)\sum_i \frac{p_{Ti}^2}{\sqrt{x_{i}^2P_z^2 +p_{Ti}^2}
+x_iP_z}p_i(x_i,p^2_{Ti})~.
\label{eq10b}
\eeq
Therefore instead of Eq.(\ref{eq8}) if we consider Eq.(\ref{eq10b}) in the continuum
limit, the exact transverse energy sum rule reads
\beq
M^2\!\!\!\ &=&\!\!\!\!(\sqrt{P_z^2 + M^2} + P_z) \sum_i \int_0^1dx \int_0^\infty
p_i(x,p^2_T)\frac{p^2_T dp^2_T }{\sqrt{x^2P_z^2 + p_T^2} + xP_z}
\label{13a}\\
&\simeq& \sum_i \int_0^1dx \int_0^\infty
p_i(x,p^2_T)\frac{2p^2_T dp^2_T}{\sqrt{x^2 + p_T^2/P_z^2} + x} \,,
\label{eq13}
\eeq
since $P_z >> M$.\\

By comparing the integrants of Eq.(\ref{eq8}) and of Eq.(\ref{eq13}), we
see that the $p_T$ dependence of the parton distribution,
which was driven in Eq.(\ref{eq9}) by $p_T^2/x\mu^2$,
is now replaced by the following expression involving $P_z$
\be
\frac{1}{\mbox{exp}[2p^2_{T}/[\mu^2(x + \sqrt{x^2 + p_T^2/P_z^2})] - Y_{0q}^h]
+1} \,.
\label{eq15}
\ee
As a result the TMD of the nondiffractive contribution of the quark distributions are now given by the following expression
\beq
xq^h(x,p_T^2,P_z) &=& \frac{1}
{\mbox{exp}[(x - X_{0q}^{h})/{\bar x}] +1}\times\no \\
&&\frac{F_q^h(x,P_z,\mu^2)}
{\mbox{exp}[2p^2_{T}/
[\mu^2(x + \sqrt{x^2 + p_T^2/P_z^2} )] - Y_{0q}^h]
+1}\,,\label{eqF}
\eeq
where $F_q^h$ is a normalization function , which has the dimension of the inverse of
an energy square, and which will be explained in more details below (see Section 4).

\subsection{Expression for $P_z$ finite}
The value of $P_z$ for finite $Q^2$, which seems more natural to us, is
its value in the reference frame where the final hadrons are at rest. In this
reference frame the proton target and the virtual photon have opposite
momentum. To go to this frame from the lab frame where the proton is at rest, we have therefore to consider the
Lorentz transformation with velocity
\be
v = \frac{|\overrightarrow{q}|}{q_0 +M}\,,
\label{eq16}
\ee
where $(q_0, \overrightarrow{q})$ is the virtual photon momentum.
In that reference frame
\beq
|P_z| = \frac{M \frac{|\overrightarrow{q}|}{q_0 +M}}
{\sqrt{1 - \frac{|\overrightarrow{q}|^2}{(q_0+M)^2}}}
 = \frac{M |\overrightarrow{q}|}
{\sqrt{q_0^2 +2 Mq_0 + M^2 -|\overrightarrow{q}|^2}} \,,
\label{eq17}
\eeq
which implies
\be
P_z^2 = \frac{M^2 (Q^2 +q_0^2)}{2 M q_0 +q_0^2 +M^2 -|\overrightarrow{q}|^2}
\,.
\label{eq18}
\ee
Now from the definition of the scaling variable $x = Q^2/2P\cdot q$, we get
\be
Q^2=2x M q_0~,
\label{eq19}
\ee
so we can write
\beq
P_z^2 = \frac{M^2 (Q^2 +\frac{Q^4}{4x^2 M^2})}
        {\frac{Q^2}{x} + M^2 -Q^2}
 = \frac{x M^2 (\frac{Q^2}{4x^2 M^2} +1)}
{1 -x +\frac{xM^2}{Q^2}} \,.
\label{eq20}
\eeq
Finally we get the following simple expression of $P_z$ in terms of  $x$
and $Q^2$
\beq
P_z = \sqrt{\frac{\frac{Q^2}{4x} + xM^2}{1 -x +\frac{xM^2}{Q^2}}} \,.
\label{eq21}
\eeq
\begin{figure}[ht]
\begin{center}
  \epsfig{figure=pz.eps,width=7.0cm}
\end{center}
 \vspace*{-5mm}
\caption{
$P_z$ versus $x$ for different $Q^2$ values.}
\label{pz}
\vspace*{-1.5ex}
\end{figure}
For illustration we diplay in Fig. 1, $P_z$ versus $x$ for different $Q^2$ values.
We notice that when $Q^2 =\infty$, then $P_z =\infty$ if $x \neq 0$. However for
$Q^2$ finite, when $x \rightarrow 0$, we also have $P_z \rightarrow \infty$.\\
 From Eq.(\ref{eq21}) one realizes that the effect of the finite value for $P_z$
 in Eq.(\ref{eqF}) is relevant at high values of $p^2_T$, for $x$ in the neighborough of 1 and for small values of
 $Q^2$.
\section{The Melosh-Wigner transformation}
So far in all our quark or antiquark TMD distributions, the label "`$h$"' stands for the
helicity along the
longitudinal momentum and not along the direction of the momentum, as normally
defined for a genuine helicity. The basic effect of a transverse momentum $p_T
\neq 0$ is the Melosh-Wigner rotation \cite{mel-wig,bucc}, which mixes the
components $q^{\pm}$ in the following way
\begin{equation}
q^{+MW}= \cos^2\theta ~q^+ + \sin^2\theta ~q^- ~~~~\mbox{and}~~~q^{-MW}=
\cos^2\theta ~q^- + \sin^2\theta ~q^+,
\label{mel1}
\end{equation}
where, for massless partons,
\be
\theta = \arctan{(\frac{p_T}{p_0 +p_z})}~,
\label{me1}
\ee
with $p_0 = \sqrt{p_T^2 +p_z^2}$.\\

Consequently $q = q^+ + q^-$ remains unchanged since $q^{MW}=q$, whereas we have
\begin{equation}
\Delta q^{MW}= (\mbox{cos}^2\theta - \mbox{sin}^2\theta) \Delta q~.
\label{mel2}
\end{equation}
The angle of the Melosh-Wigner transformation Eq.(\ref{me1}), originally derived in Ref. \cite{mel-wig}, has the correct property \footnote{The angle we used in Ref. \cite{BBS5}, which was phenomenological, didn't have this property.} to vanish
when either $p_T = 0$ or $P_z \rightarrow \infty$.

From simple calculations \footnote{ This result has been also used in several papers on the proton spin puzzle \cite{MZ,MSS}.} we get
\beq
&&\mbox{cos}^2\theta - \mbox{sin}^2\theta
 = \frac{(p_0 +p_z)^2 -p_T^2}
{(p_0 +p_z)^2 +p_T^2} = \frac{p_z}{p_0}
= \frac{x P_z}{\sqrt{x^2 P_z^2 +p_T^2}} \no \\
&& =\frac{1}{\sqrt{1 +\frac{p_T^2}{x^2 P_z^2}}} =
\frac{1}{\sqrt{1 +\frac{\xi \mu^2}{x P_z^2}}} =
\frac{1}{\frac{2\xi}{\eta} -1} \,,\label{eq239}
\eeq
where we have used the variables $\xi$ and $\eta$ introduced in the Appendix and Eq.(\ref{eq28}).

In the last term of Eq.(\ref{eq239}) by using the expression of $\xi$ given in Eq.(\ref{xidef}), we
 obtain $ 1 /(1+ \frac{\mu^2 \eta}{2 x P_z^2})$ and
this term cancels $1+ \frac{\mu^2 \eta}{2 x P_z^2}$ in
Eq.(\ref{eq222}).\\

The consequences of this cancellation will be discussed in the next section.

\section{Some explicit expressions for the TMD distributions}
One of the goals of this section is to show how to use the normalization
function $F_q^h$ introduced in Eq.(\ref{eqF}) and then how to evaluate it.

Following Eq.(\ref{eq22}) and the results of the Appendix, the nondiffractive contribution of the quark distributions $q^h(x)$ read
\be
\int_0^\infty xq^{h}(x,p_T^2,P_z)dp_T^2 =
\frac{F_q^h(x,P_z,\mu^2)}
{\mbox{exp}[(x - X_{0q}^{h})/\bar x] +1}\mu^2 x\ln{(1+e^{Y_{0q}^{h}})}[1 + R_q^h]
\label{eq77}\,.
\ee
For illustration we display in Fig. 2, $R_u^+$, using the parameters $\mu^2=0.198\mbox{GeV}^2$ and $Y_{0u}^+ =1.122$, determined in Ref. \cite{BBS5}. The other correction factors $R_u^-$, $R_d^+$, $R_d^-$ are very similar, so it is clear that
the effect of these correction factors is limited to the small $Q^2$ region.
\begin{figure}[htb]
\begin{center}
  \epsfig{figure=rapr-up.eps,width=7cm}
\end{center}
  \vspace*{-5mm}
\caption{
$R_u^+$ versus $x$ for different $Q^2$ values.}
\label{R}
\end{figure}
By using Eq.(\ref{eq1}) one gets the following condition for $F_q^h$
\be
F_q^h(x,P_z,\mu^2) = \frac{A X_{0q}^{h} x^b }
{\mu^2 x\ln{(1+e^{Y_{0q}^{h}})}[1 + R_q^h]}
\label{eq110}\,.
\ee
The parameters $A,~b,~X_{0q}^h$
are known, $P_z$ is a function of $Q^2,~x$, the only parameters to be fixed
are $\mu^2$ and $Y_{0q}^h$. It is worth noting that since $q^h(x)$ should not depend
on $P_z$, $F_q^h$ is such that it will absorb the $P_z$ dependence occuring only in the
correction factor $R_q^h$.\\
The unpolarized TMD distributions are defined as
\beq
&&xq(x,p_T^2,P_z) = \no\\
&&\!\!\frac{1}
{\mbox{exp}[(x - X_{0q}^{+})/{\bar x}] +1}\
\frac{F_q^+(x,P_z,\mu^2)}
{\mbox{exp}[2p^2_{T}/
[\mu^2(x + \sqrt{x^2 + p_T^2/P_z^2} )]\! -\! Y_{0q}^+]
\!+\!1}\no\\
&&\!\!+\frac{1}
{\mbox{exp}[(x - X_{0q}^{-})/{\bar x}] +1}
\frac{F_q^-(x,P_z,\mu^2)}
{\mbox{exp}[2p^2_{T}/
[\mu^2(x + \sqrt{x^2 + p_T^2/P_z^2} )]\! -\! Y_{0q}^-]
\!+\!1} \label{eq111a}\,.
\eeq
For illustration we display in Fig. 3, the TMD of the nondiffractive contributions of the quark distributions $xu(x,p_T^2,Q^2)$ and $xd(x,p_T^2,Q^2)$,
using the above normalization condition Eq.(\ref{eq110}) and the parameters of Ref.\cite{BBS5}. It is clear that all these $p_T$ distributions are close to a Gaussian behavior, but with a $x$-dependent width. As expected, the fall off in $p_T$ is faster for smaller $x$ values and we see that the effect of the correction factor $R_q^h$, which decreases the distributions, is more important near $p_T = 0$.

\begin{figure}[ht]
\begin{center}
  \begin{minipage}{6.5cm}
  \epsfig{figure=bbsucorrec.eps,width=6.5cm}
  \end{minipage}
    \begin{minipage}{6.5cm}
  \epsfig{figure=bbsdcorrec.eps,width=6.5cm}
    \end{minipage}
\end{center}
  \vspace*{-5mm}
\caption{The TMD nondiffractive contribution of the quark distributions versus $p_T$, at $Q^2=2\mbox{GeV}^2$, for two $x$ values: solid and dotted lines $x=0.01$, dashed and dot-dashed lines $x=0.1$. (\it{upper curves $R_q^h = 0$, lower curves $R_q^h \neq 0$})}
\label{dsigcross}
\vspace*{-1.5ex}
\end{figure}
Let us now turn to the diffractive contribution Eq.(\ref{eq2d}). Since $\tilde b <0$, one cannot introduce the $p_T$ dependence
similarly to the nondiffractive contributions, because it generates a singular behavior in the energy sum rule, when $x \to 0$. In order to avoid this difficulty, as in Ref.\cite{BBS5}, we modify our prescription by taking
\beq
x q^D(x,p_T^2,P_z) &=& \frac{1}
{\mbox{exp}[x/{\bar x}] +1}\times \no \\
&&\frac{ F^D(x,P_z,\mu^2)}
{\mbox{exp}[2p^2_{T}/
[\mu^2 x(x + \sqrt{x^2 + p_T^2/P_z^2} )]]
+1}\,,\label{eq3diff}
\eeq
whose $p_T$ fall off is stronger, because $\mu^2$ is now replaced by $x\mu^2$.
In order to make a link with Eq.(\ref{eq2d}), we have to compute the integral
\be
 x q^D(x) =\int_0^\infty x q^D(x,p_T^2,P_z)dp_T^2\,.
\label{eq4diff}
\ee
By using Eq.(\ref{eq112}) with the substitutions $Y^h_{0q}=0$ and $\mu^2 \to x\mu^2$, we easily deduce from Eq.(\ref{eq4diff})
\be
F^D(x,P_z,\mu^2) = \frac{\tilde A  x^{\tilde b-2} }
{\mu^2 [\ln2 + \frac{\pi^2 \mu^2}{24P_z^2} ]}
\label{eq10diff}\,,
\ee
since $\mbox{Li}_2(-1) = -\pi^2/12$. This result is similar to what was found in Ref.\cite{BBS5}, because the correction factor is very small.

Concerning the TMD gluon distribution, it reads similarly
\beq
xG(x,p_T^2,P_z) &=& \frac{1}
{\mbox{exp}[x/{\bar x}] -1}\no \\
&&\frac{F^G(x,P_z,\mu^2)}
{\mbox{exp}[2p^2_{T}/
[\mu^2 x(x + \sqrt{x^2 + p_T^2/P_z^2} )] + Y_G]
-1}\,.\label{eq3g}
\eeq
Here we must introduce a negative potential $-Y_G$ to avoid a singularity when
$Y_G \rightarrow 0$.
In order to make a link with Eq.(\ref{eq3}) we have to compute the integral
\be
 xG(x) =\int_0^\infty xG(x,p_T^2,P_z)dp_T^2\,,
\label{eq4g}
\ee
which reduces to
\beq
\int_0^\infty \frac{dp^2_{T}}
{\mbox{exp}[2p^2_{T}/
[\mu^2 x(x + \sqrt{x^2 + p_T^2/P_z^2} )] + Y_G]-1}&=& \no \\
\int_0^{\infty} \frac{\mu^2 x (1 +\frac{\mu^2 \eta}{2 x P_z^2})   d\eta}
{\mbox{exp}[ \eta +Y_G] -1}\,. \label{eq5g}
\eeq
and by using Eq.(\ref{eq4g}) one obtains
\beq
&&F^G(x,P_z,\mu^2) = \label{eq10g} \\
&&\frac{A_G x^{b_{G}-2} }
{\mu^2 \left[-\ln{(1-e^{-Y_G})}\!
+\!\frac{\mu^2}{2P_z^2} [\frac{1}{6}\pi^2
-\frac{1}{2}Y_G^2  +Y_G\ln{(e^{Y_G}-1)}+\mbox{Li}_2(1-e^{Y_G})]\right]}
\no\,.
\eeq
This result is similar to what was found in Ref.\cite{BBS5}, because the correction factor is very small since we take $Y_G =10^{-6}$.\\
Before we move on, we would like to compare our results with the relativistic covariant approach \cite{ESTZ}, where they introduce the
variable $x + p_T^2/xM^2$ combining the $x$ and $p_T$ dependences. We show in Fig. 4 the result of our calculations which can be compared
with the results of Ref.\cite{ESTZ} displayed in their Fig. 1. The two results are compatible with a broader shape for increasing $x$, but one notices that the $p_T$ fall off is less rapid in our case.

\begin{figure}[ht]
\begin{center}
  \begin{minipage}{6.5cm}
  \epsfig{figure=tmdu.eps,width=6.5cm}
  \end{minipage}
    \begin{minipage}{6.5cm}
  \epsfig{figure=tmdd.eps,width=6.5cm}
    \end{minipage}
\end{center}
  \vspace*{-5mm}
\caption{The TMD distributions for $u$ and $d$ quarks, versus $p_T/M$, at $Q^2=4\mbox{GeV}^2$, for two $x$ values: solid lines $x=0.18$, dashed lines $x=0.3$.}
\label{comparison}
\vspace*{-1.5ex}
\end{figure}
\begin{figure}[ht]
\begin{center}
  \begin{minipage}{6.5cm}
  \epsfig{figure=delta-u.eps,width=5.8cm}
  \end{minipage}
    \begin{minipage}{6.5cm}
  \epsfig{figure=delta-d.eps,width=5.8cm}
    \end{minipage}
\end{center}
  \vspace*{-5mm}
\caption{The $u$ and $d$ quark helicity distributions versus $x$: $x\Delta q(x)$ ({\it dashed line}) and $x\Delta q^{MW}(x)$ ({\it solid line})}
\label{dsigcross1}
\vspace*{-1.5ex}
\end{figure}
The TMD helicity distributions $x\Delta q(x,p_T^2,P_z)$ will be defined as above, by substracting instead of adding the two helicity components, so there is no diffractive contribution.\\
It is clear that after integration over $p_T$, $\Delta q(x)$ does not depend on $P_z$.
However this is not the case for the helicity distributions modified by the Melosh-Wigner transformation, since after
taking into account the cancellation obtained in Section 3, we have
\beq
&&x\Delta q^{MW}(x,P_z) = \no\\
&&\frac{1}
{\mbox{exp}[(x - X_{0q}^{+})/{\bar x}] +1}F_q^+(x,P_z,\mu^2)
\mu^2 x\ln{(1+e^{Y_{0q}^+})} \no\\
&&- \frac{1}
{\mbox{exp}[(x - X_{0q}^{-})/{\bar x}] +1}F^-(x,P_z,\mu^2)
\mu^2 x\ln{(1+e^{Y_{0q}^-})} \label{eq116}~.
\eeq
By using Eq.(\ref{eq110}) one finds
\beq
x\Delta q^{MW}(x,P_z) &=&
\frac{Ax^b}
{[\mbox{exp}[(x - X_{0q}^{+})/{\bar x}] +1][ 1 + R_q^+]} \no\\
&&-\frac{Ax^b}
{[\mbox{exp}[(x - X_{0q}^{-})/{\bar x}] +1][ 1 + R_q^-]} \label{117}~.
\eeq
As expected, in the limit $P_z \to \infty$, the Melosh-Wigner transformation
becomes an identity, so $x\Delta q^{MW}(x,P_z) \to x\Delta q(x)$. For illustration we display in Fig. 5, $x\Delta q(x)$
and $x\Delta q^{MW}(x)$ for $Q^2= 2\mbox{GeV}^2$, which shows the effect of the Melosh-Wigner rotation, mainly in the low $x$ region.

It is interesting to note that $|\Delta q^{MW}(x)| < |\Delta q(x)|$, as expected from some earlier work \cite{MSS}.
\section{Concluding remarks}
We have presented the extension of the statistical parton distributions to include
their transverse momentum dependence, by considering that the proton target has a finite longitudinal momentum $P_z$. This situation generates
some correction factors, which are only relevant in the small $Q^2$ region and for rather low $x$ values. The TMD distributions were generated by
means of a transverse energy sum rule which implies that a simplifying factorization assumption is not allowed, as explained above. This sum rule has been used by other authors \cite{ZSM} who have, as in the present work, non factorized TMD distributions, as well as in the relativistic covariant approach \cite{ESTZ}. The TMD diffractive part of the quark (antiquark) distributions $q^{D}(x,p_T^2)$ and the TMD gluon distribution $G(x,p_T^2)$ had to be treated in a different way, as in Ref.\cite{BBS5}, in order to avoid a singularity in the energy sum rule. As a result their contributions to the sum rule are very small and the nondiffractive contributions dominate. Our approach involves the parameter $\mu^2$, which plays the role of the temperature for the transverse degrees of freedom, whose value is determined by the sum rule, as given in Ref.\cite{BBS5} which is probably an upper bound. If the TMD gluon distribution contributes significantly to the energy sum rule, as it does
 to the momentum sum rule, we might obtain a much smaller value, but this remains to be proven and will be the subject of a future work.

We have also shown the importance of the remarkable Melosh-Wigner transformation, whose effects are significant only for a finite $P_z$.

At the difference of other approaches, where statistical concepts are used
in the target rest frame and then a boost is applied to a large $P_z$ frame,
we made the choice to consider directly the large $P_z$ frame and the
$x$ variable to define $X_q^h$ and the shapes of the different distributions..

There is a phenomenological evidence that the partons dominating the large $x$
regions are not the same, as those which dominate the low $x$ region, as one could
mainly find by boosting an isotropical rest frame distributions. So we think that there is a deep theoretical reason to
settle the statistical concepts directly in the $x$ variable related to the
foundation of statistical mechanics. One may also cast some doubts on the use of the statistical approach, since the
total number of valence partons is small, 2-$u$ quarks and 1-$d$ quark in the
proton, but the fact that one writes a probability density makes reasonable to
apply a statistical approach to probabilities.\\
Finally, we would like to refer to an interesting recent paper suggesting a duality principle between our approach and a thermal description
of the PDF \cite{CLST}. This duality allows them to introduce an {\it effective temperature} T$\sim$120-150MeV, which is approximately the same for
longitudinal and transverse momentum. The comparison with our results may be done in the Boltzmann limit, where we neglect the effect of
quantum statistics, which is crucial to get the phenomenological successful shape-first moment correlation for the valence partons and the isospin
and spin asymmetries of the sea. In that limit we get for the longitudinal temperature $T_l = M\bar{x}/2$, which gives 47MeV. To get the transverse temperature $T_t$, always in the Boltzmann limit, one should follow the method described in Ref.\cite{BP} leading to $T_t=\mu\sqrt{\bar{x}}/2$, which gives 70MeV, not too far from $T_l$. As noted in Ref.\cite{CLST}, there is no contradiction in getting different values in our approach and in the thermal description of the PDF.

redpajama_set_name: RedPajamaArXiv


Shot in Spain by the incredible Uvi Orogun, the visuals for #TurningAround explain why this new #HannahOla project is being described as a "game changer" for UK Gospel.
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In a dark world, Turning Around shines the much needed Light of God's Love needed in a hurting world.
"Turning Around speaks to every situation. Lyrically it declares powerful words of affirmation that will encourage anybody to expect a Turning Around of every negative situation to a positive", says Hannah, whose 15 month old baby now greets her with the opening lines of the song, rather than the usual, "Mama"!
Get your dancing shoes on, everything is Turning Around for your good!


text:
Q: Android - add views, dynamically, in a child view of a ExpandableListView i have an ExpandableListView and i need to add, on Button click, a new view element in the specific childView where the button is placed.
To do that, i created a TableLayout where put a row with the view element that i need to add in the childview.
This is my child layout:
<RelativeLayout xmlns:android="http://schemas.android.com/apk/res/android"
                android:layout_height="match_parent"
                android:layout_width="wrap_content"
                android:paddingTop="5dp">

    <TextView
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:layout_gravity="center_vertical"
        android:textColor="@color/ColorPrimary"
        android:labelFor="@+id/time_stamp_view"
        android:textSize="20sp"
        android:text="@string/info_action_name"
        android:layout_marginRight="12dp"
        android:layout_marginLeft="12dp"
        android:layout_marginTop="24dp"
        android:id="@+id/action_text"/>

    <Spinner
        android:id="@+id/spinnerAction"
        android:layout_width="match_parent"
        android:layout_height="wrap_content"
        android:layout_toEndOf="@+id/action_text"
        android:layout_marginRight="24dp"
        android:layout_alignBottom="@+id/action_text"
        android:layout_alignTop="@+id/action_text"/>

    <TableLayout
        android:id="@+id/tableTime"
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:layout_marginTop="8dp"
        android:layout_below="@+id/action_text"
        android:layout_alignStart="@+id/date_text"
        android:layout_marginBottom="8dp">

    </TableLayout>

    <!-- This imageview is the "button" to click -->

    <ImageView
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:id="@+id/addTimeImageView"
        android:layout_below="@+id/tableTime"
        android:src="@drawable/ic_time_add"
        android:layout_centerHorizontal="true"
        android:contentDescription="@string/info_add_time_image"
        />

    <TextView
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:layout_gravity="center_vertical"
        android:textColor="@color/ColorPrimary"
        android:textSize="20sp"
        android:text="@string/info_date1"
        android:layout_marginRight="12dp"
        android:layout_marginLeft="0dp"
        android:id="@+id/date_text"
        android:layout_below="@+id/addTimeImageView"
        android:layout_alignStart="@+id/date2_text"
        android:layout_marginTop="16dp"/>

</RelativeLayout>

This is my custom adapter:
    public class ExpandableListAdapter extends BaseExpandableListAdapter {

    private Context context;
    private List<String> expandableListTitle;
    private HashMap<String, List<Action>> expandableListDetail;
    private LayoutInflater layoutInflater;
    private int mViewResourceId;
    private int k = 0;

    public ExpandableListAdapter(Context context, List<String> expandableListTitle,
                                 HashMap<String, List<Action>> expandableListDetail,
                                 int viewResourceId) {
        this.context = context;
        this.expandableListTitle = expandableListTitle;
        this.expandableListDetail = expandableListDetail;
        this.mViewResourceId = viewResourceId;
        this.layoutInflater = (LayoutInflater) this.context
                .getSystemService(Context.LAYOUT_INFLATER_SERVICE);
    }

    @Override
    public Object getChild(int listPosition, int expandedListPosition) {
        return this.expandableListDetail.get(this.expandableListTitle.get(listPosition))
                .get(expandedListPosition);
    }

//    @Override
//    public  int getChildTypeCount(){
//        return 2;
//    }

//    @Override
//    public int getChildType(int groupPosition, int childPosition)
//    {
//        return expandableListDetail.get(this.expandableListTitle.get(groupPosition))
//                                   .get(childPosition).getId();
//    }

    @Override
    public long getChildId(int listPosition, int expandedListPosition) {
        return expandedListPosition;
    }

    @Override
    public View getChildView(final int listPosition, final int expandedListPosition,
                             boolean isLastChild, View convertView, ViewGroup parent) {

        final Action expandedListAction = (Action) getChild(listPosition, expandedListPosition);
        ViewHolder holder;
        ArrayAdapter<CharSequence> adapterAction = null;
        String[] timeSlot;

        if (convertView == null) {

            convertView = layoutInflater.inflate(mViewResourceId, parent, false);
            holder = new ViewHolder(convertView);

            convertView.setTag(holder);
        }

        holder = (ViewHolder)convertView.getTag();

        if(expandedListAction.getId() == 1)
            adapterAction = ArrayAdapter.createFromResource(context, R.array.actionId1, R.layout.spinner_item);
        else if(expandedListAction.getId() == 20)
            adapterAction = ArrayAdapter.createFromResource(context, R.array.actionId20, R.layout.spinner_item);

        if(adapterAction != null)
            adapterAction.setDropDownViewResource(R.layout.dropdown_list_spinner);

        holder.spinnerAction.setAdapter(adapterAction);

        ArrayAdapter<?> adapter = (ArrayAdapter<?>)holder.spinnerAction.getAdapter();
        for(Map.Entry<String, String[]> entry : expandedListAction.getActionToPerform().entrySet()){

            holder.spinnerAction.setSelection(((ArrayAdapter<CharSequence>)adapter).getPosition(entry.getKey()));
            timeSlot = entry.getValue();

             //Here i add row to table dinamically, according to data passed to adapter
             //why if add row when inflate layout, the adapter don't do that for each childView because convertview is not null for every child.
             // I can't override getChildTypeCount() because every view is different, not just few.
                for (int t = 0; t < timeSlot.length; t++) {

                    TableRow timeRow = new TableRow(context);

                    layoutInflater.inflate(R.layout.time_layout, timeRow, true);

                    EditText timeText = (EditText) timeRow.findViewById(R.id.timeText);
                    timeText.setText(timeSlot[t]);

                    holder.tableTime.addView(timeRow);
                }

        }
        }

        return convertView;
    }

    @Override
    public int getChildrenCount(int listPosition) {
        return this.expandableListDetail.get(this.expandableListTitle.get(listPosition))
                .size();
    }

    @Override
    public Object getGroup(int listPosition) {
        return this.expandableListTitle.get(listPosition);
    }

    @Override
    public int getGroupCount() {
        return this.expandableListTitle.size();
    }

    @Override
    public long getGroupId(int listPosition) {
        return listPosition;
    }

    @Override
    public View getGroupView(int listPosition, boolean isExpanded,
                             View convertView, ViewGroup parent) {
        String listTitle = (String) getGroup(listPosition);
        if (convertView == null) {
            LayoutInflater layoutInflater = (LayoutInflater) this.context.
                    getSystemService(Context.LAYOUT_INFLATER_SERVICE);
            convertView = layoutInflater.inflate(R.layout.list_group, null);
        }
        TextView listTitleTextView = (TextView) convertView
                .findViewById(R.id.listTitle);
        listTitleTextView.setText(listTitle);
        return convertView;
    }

    @Override
    public boolean hasStableIds() {
        return false;
    }

    @Override
    public boolean isChildSelectable(int listPosition, int expandedListPosition) {
        return true;
    }

    static class ViewHolder {
        @Bind(R.id.spinnerAction)
        Spinner spinnerAction;
        @Bind(R.id.addTimeImageView)
        ImageView imageTimeView;
        @Bind(R.id.tableTime)
        TableLayout tableTime;

        public ViewHolder(View view){ButterKnife.bind(this, view);}
    }
}

This code work pretty well, but i need to add a listener on Imageview that add a new row in the table. I tried to do in this way(i added this code in getView):
        holder.imageTimeView.setOnClickListener(new View.OnClickListener() {
        @Override
        public void onClick(View v) {

            ViewGroup parent = (ViewGroup)v.getParent();
            Action azione1 = expandableListDetail.get(expandableListTitle.get(listPosition)).get(expandedListPosition);

            String actionType = null;
            for(Map.Entry<String, String[]> entry : azione1.getActionToPerform().entrySet()) {
                actionType = entry.getKey();
            }

                Action azione2 = new Action();
            azione2.setId(azione1.getId());
            azione2.setGroupAddress(azione1.getGroupAddress());
            azione2.setWeekDay(azione1.getWeekDay());

            Map<String, String[]> actionPerform = azione1.getActionToPerform();
            String[] time = actionPerform.get(actionType);
            String[] time2 = new String[time.length+1];

            time2[0] = "New time"+k;
            k++;
            for(int t=0; t<time.length; t++)
                time2[t+1] = time[t];

            Map<String, String[]> actionToPerform2 = new HashMap<>();
            actionToPerform2.put(actionType, time2);
            azione2.setActionToPerform(actionToPerform2);

      //When i call updateAction, i update the HashMap expandableListDetail passed from ModifyScenarioActivity when i set the adapter,
     //and then i call notifyDataSetChanged() on ExpandableListView adapter.

            ((ModifyScenarioActivity)context).updateAction(azione1, azione2, expandableListTitle.get(listPosition));

            TableLayout table = (TableLayout)parent.findViewById(R.id.tableTime);

            table.invalidate();
            table.refreshDrawableState();

        }
    });

This listener doesn't work because it adds the new rows in the table, but the same rows are added to other tables of other child several times.
Can anyone help me handle this situation? I don't know how to solve it. Other approaches are also appreciated.
EDIT
I added this statement:
            if(holder.tableTime.getChildCount() < timeSlot.length) {
            holder.tableTime.removeAllViews();

//                for (int t = 0; t < timeSlot.length; t++) {
//
//                    TableRow timeRow = new TableRow(context);
//
//                    layoutInflater.inflate(R.layout.time_layout, timeRow, true);
//
//                    EditText timeText = (EditText) timeRow.findViewById(R.id.timeText);
//                    timeText.setText(timeSlot[t]);
//
//                    holder.tableTime.addView(timeRow);
//                }
            }

Now the table is refreshed but in the other table of other child view, display the same row of the modified child, but I can not explain why, when fill expandedListAction with getChild(), is called on different listPosition and expandedListPosition. I found with debugger that the data are ok.
EDIT
I solve the problem deleting, every time getView is called, all the rows in the table and adding again with resfreshed data. So i ask if i can improve scroll performance, maybe without deleting and refreshing table every time.
This is the solution:
            holder.tableTime.removeAllViews();
        for (int t = 0; t < timeSlot.length; t++) {

            TableRow timeRow = new TableRow(context);

            layoutInflater.inflate(R.layout.time_layout, timeRow, true);

            EditText timeText = (EditText) timeRow.findViewById(R.id.timeText);
            timeText.setText(timeSlot[t]);

            holder.tableTime.addView(timeRow);
        }

redpajama_set_name: RedPajamaStackExchange


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Next Next post: So, what Is Food Poisoning but also How Should We Follow through If Poisoned?


For users that installed the app via Google Play, we need to differentiate between those that are on the stable version, and those that are on the beta version.
We're currently using different builds for that - stable builds define ABB_RELEASE_BUILD, beta builds don't. However, ideally, we would be able to use the same builds.
Add accessors (e.g. isPlayRelease() and isPlayBeta()) that check, at runtime, whether the current version is a beta version or a stable version, respectively.
Don't check for ABB_RELEASE_BUILD in #3135 and #3136, use the new accessor instead.


Steve Tearle returns to the stage after a nine-year hiatus to lead the New Earswick Musical Society cast in Fiddler On The Roof at the Joseph Rowntree Theatre, York, from Tuesday to Saturday.
"Stevie is no novice when it comes to leading roles and has played Fagin, Patience and Cornillius in previous productions, but he has been absent from the theatre for nearly a decade and last appeared with New Earswick in Die Fledermaus, " says publicity officer Alex Schofield.
Meanwhile, Helen Thomson will make her first stage appearance since her schooldays 15 years ago, playing Tzeitel, the eldest of Tevye's handful of daughters.
Helen has directed Twelfth Night, The Matchmaker and The Crucible for Ampleforth College Theatre. She is usually to be found in the orchestra pit in musical productions, playing the bassoon, but she was determined to be above stairs in Fiddler.
Produced by Ann McCreadie, with musical direction by Don Pears, this production will be the second time that New Earswick has performed the Joseph Stein and Jerry Brock musical set in a Jewish peasant community in prerevolutionary Russia in 1905.
The story centres on the struggles of old-fashioned Tevye, his wife Golde and their five daughters, as he strives to uphold age-old Jewish traditions and values while all around him the world is changing and Russia teeters on the edge of upheaval.
Jo Hartley, a society member since 2002, follows up her appearance as stern Widow Corney in Oliver! by playing Golde, the role that went to Beryl Long in New Earswick's 1995 production.
This time Beryl has been cast as Yente, the matchmaker. "This show has wonderful music and a great storyline that is still relevant in today's political climate, " she says.
Alongside Helen Thomson's Tzeitel, the other sisters will be played by society newcomer Natalie Kinrade as Hodel; real-life sisters Sarah and Emma Craggs, from the society's junior section, as Chava and Shprintze; and Imogen Fuller, in her sixth New Earswick show, as Bielka.
Society stalwart Alan Rome will portray Lazar Wolf, having appeared as Mendel the Rabbi's son 12 years ago; society regular Steve Padfield will shed 20 of his 40 years to play the 20-year-old Motel; and another regular, Paul Blenkiron, will be Perchik. Alex Phillips, who caught the eye in his society debut as the Artful Dodger in Oliver! , builds on that cheeky turn by playing Fyedka.


Running: Cheaper than Therapy is a witty and expertly compiled compendium of running wisdom and humour. From a short jog that lifts your mood to the closing stages of a marathon when you feel physically exhausted but emotionally invincible all at once, running delivers every time. Running: Cheaper Than Therapy is a celebration of the pastime that always makes you feel better. Covering every aspect of running life from jogging etiquette and the things we both love/hate about it, through to the weirdest and wonderful marathons around the world. Also included are the funniest spectator signs ever, cool advice that could improve your PB and brilliantly insightful running philosophies. Complete with guest contributions from parkrun founder Paul Sinton-Hewitt, political strategist Alastair Campbell, Olympian Liz Yelling and comedian David Baddiel, this brilliantly knowing compendium will be appreciated by joggers, triathletes and runners who know the joy of putting on a pair of trainers and getting out there.


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Baring It All: Sheffield's alt-queer performers blurring the boundary between drag and burlesque
A man walks into a bar and is greeted by two circus acts, two drag queens, two burlesque dancers and the devil...
by Harry Browse
Discord's debut show, Night of Discordia, courtesy of Rosie Stones (@rosietookthese). From left to right: @foundlingstudio, @caraamahon, Ashley, @thatangstyacrobat, @red_performance, @queenqueefofficial, @dianadsheffield, @ladyjenniferhoop.
It sounds like the start of a dad joke, but before coronavirus began closing down cities, this was becoming a common sight in Sheffield's underground queer spaces.
Named after Discordia, the Roman goddess of chaotic creation, House of Discord is Sheffield's freshest queer performing arts collective. In December last year, the group sold out their debut show at Bal Fashions, a cosy speakeasy that has since become their resident space. The group form part of a network of gender-bending performers spanning multiple arts collectives based in the city, including Spectre Burlesque, Steel City Sirens and Andro & Eve.
But don't buy a ticket expecting a traditional burlesque show. There are no tightly-curled vintage down-dos or Vaudevillian comedy sketches here. Instead, in different ways these groups represent a rebellious counterculture blossoming in Sheffield, breaking the rules of drag and burlesque to voice their views on issues of sex, gender and body politics.
I thought if I can't join something, then I may as well create it
"When I moved to Sheffield, I thought I was going to find my space in the city, but I didn't fit into any of the boxes - nor did I want to," says Beth Lannigan, the 21-year-old trained acrobat behind Discord.
"I thought if I can't join something, then I may as well create it."
At the time of Discord's formation, inner-city strip club Spearmint Rhino was also being threatened with closure after a 2019 Sheffield County Council report said dancers had "sexually touched" customers and each other, breaching the club's code of conduct and 74 license conditions. After struggling to find their own place in the city, Beth sympathised with the protesting dancers who argued that taking away the club's licence would deprive them of their livelihoods, as well as a safe space to work.
"If you take these spaces away from people, then it puts them in a dangerous position. What other options do they have?" says Beth.
@red_performance by Rosie Stones (@rosietookthese)
Their vision for a gender-bending burlesque troupe, driven by the principles of vulgarity, queer sexuality and all-out chaos sought to problematise the idea of burlesque as an 'acceptable' art form when contrasted with commercial stripping or pole dancing, skills commonly dismissed and demonised on both sides of the feminist debate.
Burlesque has always used the seductive art of striptease to disturb the typical power dynamic between onlooker and subject, the observer and the observed. But for Beth, it was also a way to show an audience the absurd nuances of that power.
"[Stripping] is not the same as burlesque but everybody is in the same position. It's not just about taking your clothes off on stage. It's a giant 'fuck you'; it's, 'I'm going to stand here, and I'm proud of myself, and I'm going to take a glove off, and you're going to cheer uncontrollably."
Discord's debut show, Night of Discord, was a mess - which is exactly what Beth intended. "I lost my voice the next day because I was screaming 'YAS BITCH!' all night."
It was a showcase of all things camp and chaotic, featuring everything from a drag Mrs Claus, lip syncing with her tits out, to an acrobat who dazzled the audience with an electric hula hoop light show; a logistical feat, considering Bal Fashions is as an intimate venue with a capacity of only 150.
Half-way through the show, the performers and everybody in the audience knew each other
"We didn't have a green room or a backstage. Everyone just ran on and off the stage, diving into the audience when we finished. Half-way through the show, the performers and everybody in the audience knew each other. Everyone was on the same side."
One of Discord's stand-out acts goes simply by the name Red. The person below the head-to-toe red body paint is 21-year-old drag artist and burlesque performer Maddy Tweedale and Red is her devilish alter-ego. Red identifies as a 'bio queen', the name commonly given to a biologically female performance artist who performs in female drag.
A seasoned act, Red has performed and hosted 14 shows and is one of the few artists to have been involved with Discord, Sirens and Spectre. But Maddy maintains that she feels little distinction between the drag and burlesque elements of her persona, suggesting that how she is viewed is dependent on the context of the performance.
"It's weird because my burlesque and my drag is the same thing. It's one big monster.
"I found that people tend to hire me more now for my drag persona and if I want to get my baps out, it's a bonus."
The spontaneity and brash wit of Maddy's persona - elements of live performance rooted in a distinctly drag tradition - means she has earned a reputation as a talented host. "The thing is about Red is that she doesn't like rehearsing," says Maddy, "If you go to see a Red performance, she is making it up on the spot.
"I once hosted a birthday party for Spectre by complete coincidence. Their compare dropped out last minute and I happened to be in the bar, so I said I'd do it. Luckily, I was wearing matching underwear."
Nevertheless, Red claims to have encountered drag queens who have dismissed her act altogether because she is a woman doing drag.
"I still don't know what I'm doing. My wigs are horrendous, my make-up needs work.
"There are some rooms where my stuff is gritty and appreciated and people love it, and then there are some rooms were people go, 'What the fuck is this antichrist bullshit?'
"But you still can't tell me that the stuff I do isn't drag."
www.harrybrowse.com
Filed under: #burlesque #drag
Bethan Woollvin Creating Mischief
Sheffield-based author and illustrator brings critters, creatures and characters to life in reimagined fables.
Small Mercies exhibition launches at Artcade Gallery
Sheffield artist brings optimistic art to the city just in time for Christmas.
Amy Blackwell Portraits, Patterns & Plant Ladies
All things bold, bright and beautiful, Amy Blackwell's illustrations are just the tonic to see us through these cold and wintery days.
Ignite Imaginations Spreading positivity through art installations
Creative charity aims to capture turbulent year through the community-led Art in the Heart project.
Arantza Pardo Adventures into the Unknown
A lifelong love for celestial and cosmic phenomena provides constant inspiration for Glasgow-based painter and digital artist.


Atelier education is centered on the belief that working in a studio, not sitting in the lecture hall, is the best place to learn about art. Every artist needs to learn basic drawing skills.
In this elegant and inspiring workbook, master contemporary artist and best selling author Juliette Aristides breaks down the drawing process into small, manageable lessons; presents them progressively; introduces time-tested principles and techniques in the Atelier tradition that are easily accessible; and shares the language and context necessary to understand the artistic process and create superior, well-crafted drawings. What makes this approach unique is the fact that it includes blank pages for copying and practicing within each lesson, facilitating traditional Atelier methods.
Ateliers have produced the greatest artists of all time--and now that educational model is experiencing a renaissance. These studios, in a return to classical art training, are based on the nineteenth-century model of teaching artists by pairing them with a master artist over a period of years. Students begin by copying masterworks, then gradually progress to painting as their skills develop. Beginning Drawing Atelier is like having an atelier in a book--and the master is Juliette Aristides, a classically trained artist. On every page, Aristides uses the works of Old Masters and today's most respected realist artists to demonstrate and teach the principles of realist drawing and painting, taking students step by step through the learning curve yet allowing them to work at their own pace. Unique and inspiring, the approach in this new book offers serious art courses for serious art students.
Buy Beginning Drawing Atelier: An Instructional Sketchbook by Juliette Aristides from Australia's Online Independent Bookstore, Boomerang Books.


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