text:
Audio and Music Gadgets
How Guitar Pedals Work
By: Gerlinda Grimes
An array of pedals can turn the clean and sometimes thin sound of an electric guitar into something wild and distorted.
Jupiterimages/Brand X Pictures/Thinkstock
Think "guitar god," and a particular image of Jimi Hendrix springs to mind: Hendrix kneeling, shamanlike, before his Fender Stratocaster, his hands seeming to coax flames from the instrument. Captured by photographer Jim Marshall at the 1967 Monterey Pop Festival, this image is burned into the collective consciousness of American rock culture in the same way that Hendrix's signature sound still echoes through the years. His defiant rendition of the "Star Spangled Banner" isn't quite a technical masterpiece -- one could almost play the melody with a single finger. What elevates the song is its sound. To get that dissonant wailing, Hendrix uses two effects: an Arbiter Fuzz Face and the Vox Wah-Wah [source: Trynka].
Almost since the birth of amplified guitars in the early 1930s, players looked for ways to enhance the sound of their electric guitars. A huge variety of guitar effects have emerged from their experiments. These include rack-mounted effects, effects built into amplifiers, and pedal effects. While rack-mounted and built-in effects are separate topics, this article focuses on stomp boxes, which are foot-switchable pedal effects designed for use during live performance.
Some guitarists design or modify their own pedals. Others use a combination of off-the-shelf effects. Kurt Cobain stomped on Electro-Harmonix Big Muff and ProCo Rat pedals to create his classic loud-soft-loud, "Nevermind"-era sounds. John Mayer kicked off his 2003 hit, "Bigger Than My Body," with see-sawing, arpeggiated sounds from his Roger Linn AdrenaLinn III pedal. There are hundreds, if not thousands, of different stomp boxes. Although there's a certain amount of gray area and overlap, pedal effects can all be divided into four general categories:
Pedals that boost, compress or distort a signal
Pedals that modulate a signal
Echo and delay effects
Everything else: filter, modeling and multi effects
Before diving more deeply into each category, let's take a quick look at the history of guitar effects.
History of Guitar Effects
Make It Loud: Boosting, Compressing or Distorting a Signal
Make It Weird: Modulation Pedals
Make It Repeat: Echo and Delay Effects
Make It Sing: Filter, Modeling and Multi Effects
Make It Yours: Developing a Signature Sound
The first amplified guitars appeared during the swing era in the early 1930s. Back then, big bands ruled the day, and horn players were the stars. Naturally, guitarists wanted to grab some of those solos for themselves, but the natural sound of early amplified guitars was thin, reedy and thoroughly anticlimactic.
It's no surprise that guitarists quickly began looking for ways to pump up their sound. The very first guitar effects were built into instruments themselves. In the 1930s, Rickenbacker made a clunky Vibrola Spanish guitar with motorized pulleys that jiggled the bridge to create a vibrato effect. In the 1940s, DeArmond manufactured the world's first standalone effect, a type of tremolo. Many guitarists looked for a way to reproduce the natural reverb and echo they enjoyed during soundchecks in empty halls. Guitarist Duane Eddy outfitted a 500-gallon metal water tank with a speaker at one end and a microphone at the other to create an artificial echo chamber for recording. However, there was no way he could have used such a contraption on stage [source: Hunter].
By the late 1950s, many amplifiers featured built-in tremolo, vibrato, echo and reverb effects; guitarists like Chet Atkins, Luther Perkins and Roy Orbison used these to produce the now-classic rock 'n' roll, "slapback" echo sound on stage. In the early 1960s, tape-based echo units, such as the Watkins Copicat, heavily influenced the sound of British beat rock [source: Hunter].
Early standalone guitar effects were powered with vacuum tubes. They were bulky, expensive, fragile and not very practical for live performance. Then, in the early 1960s, the transistor became widely available. For the first time, engineers were able to create affordable, portable standalone effects, such as the Uni-Vibe Jimi Hendrix used on his song "Machine Gun." By the late 1970s, manufacture of affordable, solid-state effects had exploded, creating a whole new gear market that continues to thrive today.
Let's take a look at each major type of effects pedal. First up, we'll explore pedals that affect dynamics.
Lots of upstart garage bands prefer fuzzy distortion.
Ask most guitarists which pedal they would keep if they landed on a desert island with only a guitar, an amp and one effect, and it would probably be some sort of booster pedal. In the journey toward the weirdest guitar sounds imaginable, pedals that affect a guitar's volume are the first steps along the path.
Compression, booster and preamp pedals affect a guitar's signal in a clean, non-distorted way. Preamps or booster pedals raise the overall level of a signal; electric players often use these to egg their tube amps info overdrive. Compression pedals, on the other hand, narrow a tone's dynamic range by limiting the attack on a note and amplifying its decay. Put your compressor or preamp at the beginning of your effects chain to send hot, clean, level signals to the rest of your stomp boxes. Slap a noise gate pedal at the end of your chain to silence hiss and unwanted noise from other pedals. (Be careful with noise gates, however. They may clip off your guitar's sustain, creating an unnatural stutter.)
Though clean-sounding booster pedals are fine, what many players want most is a way to add a bunch of distortion to their sound. Here are three different ways to dirty up your tone:
Overdrive. Original overdrive occurred when players first cranked their tube amplifiers up to 10. Overdrive is literally the sound of vacuum tubes pushed to their limits. Overdrive pedals either boost a guitar's gain, sending the player's (tube) amplifier into an overdriven state, or they try to replicate the sound of an overdriven tube amp.
Distortion. Distortion pedals overdrive the sound of overdrive by boosting levels and altering waveform.
Fuzz. Ike Turner and the Rhythm Kings guitarist Willie Kizert captured one of earliest recorded fuzz tones when he tracked the song "Rocket 88" through a Fender Bassman amp that had blown a tube after being dropped on the street in the rain [source: Hunter]. Literally the sound of a busted amplifier, fuzz distorts distortion itself to create the kind of buzzy, hum-tone heard in songs like the Rolling Stones' "(I Can't Get No) Satisfaction."
Now that you've learned how to muddy up your sound, let's take a look at ways to make it weirder. Next, we explore the wide world of modulation effects.
Back in the 1940s, Don Leslie developed a speaker cabinet that split a signal between a 15-inch drum speaker and a high-end horn. The drum and horn rotated at different speeds in opposite directions, producing sounds which revved from slow to shimmering as the speakers rotated in and out of phase with each other. Attempts to reproduce these sounds resulted in the first modulation effects. Studio trickery, such as the kind of manual tape flanging the Beatles used on "Lucy In The Sky With Diamonds," also provided inspiration for future modulation pedals [source: Hunter].
Modulation effects work by disturbing a signal's pitch and/or frequency to create everything from spaceship sounds to classic vibrato. Popular types of modulation pedals include:
Phasers. A phaser pedal splits a signal and plays back the two paths at different wavelengths to produce a spacey sound, like the one on the drums in Tears For Fears "Head Over Heels." (Listen for the drum fill as the song heads into the bridge.)
Flange. Flange is a lot like phaser, but with more of a sweeping effect. Eddie Van Halen used flange so often that Dunlop eventually engineered a flange pedal, the MXR EVH-117, based on his guitar sound.
Vibrato and tremolo. Though they sound similar, vibrato and tremolo are two completely different effects. Tremolo is actually a dynamic effect, relying on variations in a note's volume to produce a shuddering sound. Vibrato is modulation's answer to tremolo; small, fast pitch changes result in a vibrating sound. Guitars with whammy bars enable players to produce vibrato manually.
Octave divider. Octave pedals output your signal in a higher or lower octave. Jack White uses a DigiTech Whammy octave pedal to make his guitar sound like a bass on the White Strips song "Seven Nation Army."
Ring modulator. Used by avant-garde musicians in the 1950s, ring modulator effects mix a source sound with sound from an internal oscillator to create signals that are mathematically related. Ring modulation results in a variety of noise ranging from dissonance and grinding to metallic or bell-like tones.
Modulation effects produce some of the most interesting and bizarre sounds available for guitar. However, if you think pitch and frequency effects are fun, time-based effects will really blow your mind. Do you hear an echo? Head over to the next page and find out.
Loops and delays can create otherwordly sounds from your guitar.
Hemera/Thinkstock
As we mentioned earlier when discussing Duane Eddy and his homemade 500-gallon echo chamber, reverb and echo were among the first effects guitarists attempted to engineer. The results, from the very first tape-based echo units to the most advanced looping pedals of today, have done nothing less than change the face of music. Vocalists today wouldn't dream of recording leads without first drenching their dulcet tones in reverb. Listen to U2's guitarist the Edge on "Where the Streets Have No Name," and you'll hear the stunning guitar delay that has influenced a whole generation of new players. Finally, modern looping pedals have enabled performers like Theresa Andersson to elevate the traditional singer-songwriter experience to a new level by using a variety of instrument and vocal loops performed live.
Here's how some of the most classic time-based effects work:
Echo. Want to sound like you're playing inside the National Cathedral in Washington, D.C., minus the cathedral? Use an echo effect. Vintage analog echo effects, such as the Roland RE-201 Space Echo, are highly coveted and still in use today.
Delay. Delay pedals can ping back a signal with a very short delay, similar to echo, or with such a long delay that you can play a new melody over the top of the original one. Delay (and its hippie cousin, Reverse Delay) can also produce a variety of interesting noises. The band Pomplamoose twists the knob on an Electro-Harmonix Deluxe Memory Man pedal in its rendition of Beyonce's "Single Ladies" to create needle-on-the-record DJ sounds.
Chorus. Chorus is an effect that splits a signal and then slows and slightly detunes half of it before mixing it back in with the unaffected half. You can hear chorus on "She Sells Sanctuary" by The Cult and "Come as You Are" by Nirvana.
Reverb. Reverb is a sort of echo-upon-echo effect; each echo decays at a different rate, making the signal sound like it's bouncing around (reverberating) in an empty room.
Looping pedals. Like delay pedals on steroids, looping pedals enable guitarists to layer multiple phrases on top of each other to create interesting musical textures. Musicians like Andrew Bird and Howie Day is known for looping pedals.
You've affected a signal's volume, messed with its pitch and made it repeat itself. What territory is there left to explore? One word: frequency. Discover filter effects and everything else on the next page.
Changes in frequency, wavelength, wavenumber, amplitude, intensity, speed and direction will all affect the way we perceive sound waves. Filter effects work on those sound wave qualities in a number of ways. Wah-wah will make your guitar sing or cry. Tweaking EQ can make your signal as tinny as an old AM radio or as bass-heavy and muffled as the club next door. Here's the skinny on filter and modeling pedals:
Wah-wah pedals. Made famous by Jimi Hendrix and countless other musicians, Wah-wah pedals filter out certain frequencies and compress others. Rock the pedal up and down to change the frequency of your signal's resonant peak, creating a distinctive crying sound [source: Keen].
Envelope filter/auto-wah. Auto-wah pedals are wah-wah pedals you can set and forget. They work using an envelope filter to fold sound back in on itself. Stevie Wonder popularized one of the first (and still best-loved) envelope filters, the "Mu-Tron III."
EQ pedals. Straight equalizer (EQ) pedals allow a player to boost or lower frequencies within a variety of ranges. Multi-band graphic equalizers can compensate for a variety of signal problems or room-sound oddities in live situations. EQ pedals can also be used, sometimes in conjunction with an expression pedal, to simulate a variety of synthesizerlike filters. For instance, lower or remove high frequencies to get a muffled, "club-next-door" effect.
Modeling pedals. These use a variety of EQ filters to simulate the sounds of other things, often classic amplifiers. Boss makes an Acoustic Simulator pedal which enables electric guitarists to reasonably approximate acoustic guitar tones. Tech 21 produces a SansAmp pedal that will allow a guitarist to plug directly into a PA and sound like he or she is playing through an amplifier that has been tweaked in a number of ways, with options for tone, overdrive and other settings.
In addition to dynamic, modeling, time-based and filter effects, many pedal manufacturers have also developed all-in-one solutions. The Boss ME-70 Guitar Multiple Effects Pedal Board bundles a variety of different effects into a single powerhouse pedal. Line 6 makes a line of popular Pod effects that simulate classic amplifier sounds and also offer a variety of different effects.
Now that you know how effects pedals work, it's time to put them to use. We'll talk about developing a signature sound on the next page.
If you want your own signature sound, a personal pedal board is the way to go.
Some players, like Eric Clapton, rely on amplifiers and guitar pickups to achieve a signature sound. Others use a variety of off-the-shelf effects. Still others have effects built to their own specifications. (Neil Young's red box and "whizzer" come to mind.) Your personal budget, the style of music you play and your own personality will determine which types of pedal effects work for you.
Once you've invested in a few effects, you'll probably want to investigate a single power supply to operate all your effects. Some devices supply power for up to eight different effects. Other manufacturers sell pedal boards designed to power, transport and protect pedal effects.
You'll also want to chain your pedals together to create effects layers and enable you to switch between pedals during live performance. There are a few rules of thumb when chaining pedal effects:
Preamps and compressors generally go at the front of the chain. The exception to that rule is envelope filter (auto-wah) pedals, which need a variable signal to operate properly. If you're using an auto-wah, put it before your compressor.
Next, add your noise-making pedals: overdrive, distortion and fuzz.
Modulation effects (chorus, reverb, flange) work best "downstream" in the chain. They require even levels to operate properly, and they can also be quite noisy, so it's best to put them after pedals like distortion, which amplify the signal.
At the end of the signal chain, add your EQ and Noise Gate. If you're using a reverb pedal, experiment with placing it before and after your noise gate.
As with any rules, sometimes you get the best results when you break them. Shuffle the pedals in your effects chain and see what sounds best to you.
Jimi Hendrix's "Machine Gun" wouldn't be the same tune without his Uni-Vibe pedal. From Korg's KP3 Effects Sampler to Electro-Harmonix Frequency Analyzer, there's a whole universe of mind-blowing pedal effects to inspire your sound and your songwriting. Find lots more information, including schematics and mod-it-yourself links, on the next page.
How Acoustic Guitars Work
How Band Equipment Works
How Electric Guitars Work
How to Play Guitar
How Recording Sessions Work
The Art of the Stompbox
DIYstompboxes.com
Famous Guitar Sounds
Geofex.com
Guitar Effects Schematics
Mod.It.Yourself
"AdrenaLinn III." Roger Linn Design. 2001. (Feb. 21, 2011) http://www.rogerlinndesign.com/products/adrenalinn3/adrenalinn3.shtml
"The Art of the Stompbox: Categories of Effects." MuseumofMakingMusic.org. 2010. (Feb. 21, 2011) http://www.museumofmakingmusic.org/stompbox/index.php/home/categories-of-effects
Bartlett, Bruce and Jenny Bartlett. "Practical Recording Techniques: The Step-by-Step Approach to Professional Audio Recording." Focal Press. November 2008. (Feb. 21, 2011) http://books.google.com/books?id=E0uy8adetQoC&pg=PA126&dq=guitar+effect&hl=en&ei=-NFnTbSpDoeCtgfM9dDmAw&sa=X&oi=book_result&ct=result&resnum=4&ved=0CEQQ6AEwAw#v=onepage&q=guitar%20effect&f=false
"The Boss Book." Hal Leonard Corp. January 2002. (Feb. 21, 2011) http://books.google.com/books?id=toAus99CNgMC&printsec=frontcover#v=onepage&q&f=false
Brewster, David M. "Introduction to Guitar Tone & Effects. Hal Leonard. August 2003. (Feb. 21, 2011) http://books.google.com/books?id=q99-bY3cL8YC&printsec=frontcover#v=onepage&q&f=false
Drozdowski, Ted. "The Accidental Birth of the Wah-Wah Pedal and How It Became the Signature Sound of Psychedelic Rock." Gibson.com. June 2008. (Feb. 21, 2011) http://www.gibson.com/en-us/Lifestyle/Features/the-accidental-birth-of-the-wa/
"FuzzEffect: The Fuzz Story & Photos." Fuzzeffect.com. (Feb. 21, 2011) http://www.fuzzeffect.com/
"Hunter, Dave. "Guitar Effects Pedals: The Practical Handbook." Backbeat Books. 2004. (Feb. 21, 2011) http://books.google.com/books?id=myP-4CZWyxcC&printsec=frontcover#v=onepage&q&f=false
Keen, R.G. "Guitar Effects FAQ Version 3.2." Geofex.com. May 2000. (Feb. 21, 2011) http://www.geofex.com/
Keen, R.G. "The Technology of Wah Pedals." Sept. 27, 1999. (Feb. 21, 2011) http://www.geofex.com/article_folders/wahpedl/wahped.htm#whatwah
Kraft, Eric. "Wah-Wah Pedals." Vintage Guitar Magazine. June 5, 2001. (Feb. 21, 2011) http://www.vintageguitar.dreamhosters.com/1842/wah-wah-pedals-2/
Lawrence, Chris. "Kurt's Equipment." Burntout.com. (Feb. 21, 2011) http://www.burntout.com/kurt/misc/equip.html
Mangum, Eric and Dean Stubbs. "DOD Presents 100 Superstar Guitar Sounds on a Stompbox Budget." Cherry Lane Music. February 1995. (Feb. 21, 2011) http://books.google.com/books?id=pp6xpWAgjFcC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
"Neil Young's Sound." Thrasherswheat.org. (Feb. 21, 2011) http://thrasherswheat.org/sound.htm
Trynka, Paul. "Rock Hardware." Backbeat Books. November 1996. (Feb. 21, 2011) http://books.google.com/books?id=HDrIjd5FQ8QC&pg=RA19&hl=en#v=onepage&q=hendrix&f=false
Gerlinda Grimes "How Guitar Pedals Work" 14 March 2011.
HowStuffWorks.com. <https://electronics.howstuffworks.com/gadgets/audio-music/guitar-pedal.htm> 22 January 2022
How Amplifiers Work
How to Play 4 Guitar Licks


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888 Holdings plc es una compañía que opera varios sitios de juego en línea de alto perfil, operando bajo las leyes de Gibraltar. La empresa fue fundada en 1997 y se cotiza en la Bolsa de Valores de Londres.

Anterior a la OPI (oferta pública inicial), los hermanos Avi y Aaron Shaked eran dueños del 30% aproximadamente de la empresa madre a través de un fondo familiar. Los hermanos Shay y Ron Ben-Yitzhak controlaban aproximadamente el 25% de las empresas, mientras que el 55% restante pertenecía de forma colectiva a un conglomerado de empresarios españoles del juego.

Desde 2004, el grupo 888.com es el patrocinador principal del Middlesbrough Fútbol Club. Más recientemente, el grupo se ha convertido también en patrocinador del Sevilla Fútbol Club. En 2006, 888.com se convirtió en el principal patrocinador del Campeonato Mundial de Snooker. Al año siguiente, 888.com fue el principal patrocinador del Club Nacional de Football para la Copa Libertadores de 2007.

Sitios Web
Las Empresas Cassava operan bajo licencia garantizada por el gobierno de Gibraltar. Según los términos de esta licencia, mantienen un número de sitios de juego en línea (tanto con fines educacionales, como por dinero), incluyendo:

888.com
888.com es el principal sitio del Grupo. Lanzado en noviembre de 1995, sirve principalmente como la marca del Grupo, siendo fácil de recordar e incluyendo el acceso a 888casino, 888poker y 888sport. Aunque en sí no contiene ningún juego propio, 888 es comúnmente reconocido como "el casino más grande de Internet".

888casino

Antiguamente Casino-on-Net, 888casino es la marca de juegos de casino del Grupo. Originalmente lanzado en mayo de 1997, sirve a más de 13 millones de personas. El sitio ofrece un número de juegos de casino tradicionales, incluyendo máquinas tragamonedas, blackjack, bacará, ruleta, dados, pai go, póquer caribeño, keno y video póquer. A la vez, ofrece versiones de práctica gratuitas de sus juegos.

888poker

888poker, antiguamente Pacific Poker, es la sala de póquer del Grupo 888. Lanzado en julio de 2002, se especializa en diferentes variantes de póquer y otros juegos de cartas. Las variantes tradicionales tales como Texas hold 'em, Omaha y Siete Cartas, son ofrecidas en el sitio. Al igual que como 888casino, 888poker ofrece versiones gratuitas de sus juegos para jugadores que prefieren no jugar con dinero real. El sitio es compatible con el sistema operativo Windows y Apple. Los jugadores pueden elegir entre jugar con el software del sitio o con la versión disponible en línea.

888sport

888sport es un sitio web de apuestas deportivas en línea, fundada en 2008. Su sitio web ofrece apuestas en eventos de fútbol, baloncesto, tenis, carreras de caballos, golf, rugby y otros deportes. Las opciones para sus clientes incluyen apuestas sencillas y combinadas antes de los eventos, así como apuestas en vivo, en las que los usuarios pueden apostar durante un partido.

Jugadores de los Estados Unidos
El 2 de octubre de 2006, el Grupo 888 anunció la suspensión de sus actividades con jugadores de los Estados Unidos como consecuencia del SAFE Port Act, legislado por el Congreso de los Estados Unidos.

Casas de apuestas digitales
Empresas de juegos de azar
Empresas fundadas en 1997
Empresas de Gibraltar

redpajama_set_name: RedPajamaWikipedia


GS8048A Radian Power Plant | OutBack | Inverter Grid-Tie | DNM Solar Solutions Inc.
8kW grid-interactive inverter/charger with dual AC input/outputs and battery control. Can be used for off-grid, backup power systems, and net-metering solutions. Radians can be ganged in groups up to 10, providing up to 80kW of power.


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HRC website
ateway
Researcher initiated proposals
Career development awards
Māori health research
Pacific health research
Funding /
Researcher initiated proposals /
2023 Programmes
Programmes provide support for the long-term development of a health research field by a group of established investigators with an outstanding track record of achievement. They should have a strategic, long-term vision that will contribute to significantly improving health outcomes for New Zealanders. Up to $5 million is available over five years.
In keeping with the evolving alignment of our investment opportunities and processes with the New Zealand Health Research Prioritisation Framework, we have made some key changes for 2023 Programmes. These include:
Introducing a 'General' category to replace the 'Health and Wellbeing in New Zealand' and 'Improving Outcomes for Acute and Chronic Conditions in New Zealand' research investment streams.
The inclusion of a question for Programme applications (General category) about how your proposed research aligns to the Domains of the New Zealand Health Research Prioritisation Framework. Applicants are asked to consider which Domain the proposed research is most aligned with and identify this as the primary Domain. An additional secondary Domain can also be identified if relevant. While this information will not influence the assessment of proposals, it is a good opportunity to think critically about where your research fits into the prioritisation framework in preparation for changes coming up over the next 12 months.
The following changes and improvements have also been introduced. Please refer to the application guidelines for full details.
The annual salary increase cap of 3% has been removed.
Unnamed Masters and PhD students can be included. The HRC must be informed of the student's name, qualifications and/or expertise relevant to their role in the research activity, when the student has been appointed. Please note that when an unnamed student is included, the applicant may not add supplementary information about their intent to recruit or appoint a student with particular expertise or other characteristic, such as ethnicity or gender. These will not be considered justified for unnamed students and will be disregarded in the assessment process.
Student fees can now be requested (in addition to stipends) and should be justified as a reasonable estimate based on the expected programme of study and fees set by the organisation at which the student would be enrolled.
Regulatory approvals and other requirements including ethics approvals (human and animal) and clinical trial registration should be added as Year 1 milestones to support contract monitoring (even if the applicant expects to attain these prior to contract commencement).
If you're applying as the director (or co-director) of a HRC programme, you'll need to have New Zealand as your principal domicile (see definition in the HRC Rules document) and your principal place of employment, and set aside at least 20 per cent full-time equivalent (FTE) of your time on the programme. There are also a number of other specific requirements that you'll need to meet (see the 2023 Programme application guidelines for all the details).
Note: Host organisations are responsible for ensuring that New Zealand is the principal domicile and principal place of employment for the applicant. By submitting an application, the host is satisfied that this condition has been met.
The HRC welcomes proposals with co-directors and acknowledges the range of leadership skills and experience required to optimise the potential impact of a programme grant. In this context the eligibility requirements apply to the director and co-director, individually or combined (see the 2023 Programme application guidelines for further details).
If you're applying for Programme funding, there is a one-stage application process. Submitted applications are assessed in several stages; applications are assessed by external reviewers and a science assessing committee, and short-listed applications are then assessed by a programme assessing committee. The outcome of these assessments informs Council's funding decision for Programmes.
Choosing a programme category
If you are applying for a Programme you need to select one of the following categories:
Rangahau Hauora Māori Programme
Supporting Māori health research that upholds rangatiratanga and uses and advances Māori health knowledge, resources, and people.
General Programme
All other types of research, including research that might be submitted through Pacific or Health Delivery investment categories that are separate in other HRC award types, and research that would previously have been submitted to the 'Health and Wellbeing in New Zealand' and 'Improving Outcomes for Acute and Chronic Conditions in New Zealand' research investment streams.
Guidance on the Māori Health Advancement (MHA) assessment criterion and examples of how to incorporate this in your research can be found here: Māori Health Advancement.
'Pathway to impact' assessment
Guidance on the Research Impact assessment criterion and feedback for applicants can be found here: Research impact assessment slideshow notes.
If you've read through the documents below and the 'How to apply for HRC funding' section under 'Helpful links' and still have a question about Programme funding, send an email to info@hrc.govt.nz and one of our team will be in touch.
2023 Programme Application Guidelines
11 Aug, 2022 11:39am - 578KB
2023 Peer Review Manual
18 Oct, 2022 3:00pm - 394KB
2022 1pm
Full applications
Rebuttals Open
Rebuttals Close
Results available
Recommended reading before applying
How to apply for HRC funding
Webpage link
HRC research ethics guidelines
10 May, 2021 12:42pm - 639KB
HRC rules
26 Sep, 2019 7:12am - 225KB
Māori health advancement guidelines
5 Aug, 2019 2:21pm - 604KB
Māori health research guidelines
22 Sep, 2017 3:50pm - 1.5MB
NZ standard CV template
6 Sep, 2017 12:11pm - 30KB
Pacific health research guidelines
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redpajama_set_name: RedPajamaCommonCrawl


text:
Posted on August 7, 2019 by andrew.zammit
Another quick post of updates about new publications.
I've published a new AVERT post, Learning the Rules: Resources on the Complexities of Counter-Terrorism in Australia:
If you search "Australian counter-terrorism" in Google Image, the results are usually pictures of heavily armed police officers or soldiers, possibly raiding a house, guarding an iconic location, or standing outside an armoured vehicle. There are good reasons for the popularity of such attention-grabbing images; they convey the idea of preventing deadly acts of terrorism more simply than images of people sitting behind desks.
However, while the police and military services both play crucial roles, counter-terrorism also involves many other parts of Australia's system of government.
In this post, I share a collection of resources that provide an inside look at different counter-terrorism roles played by various government bodies, including the police but not limited to them. These resources provide insights from:
· Coroners who have led inquests when counter-terrorism has gone wrong and people have been killed;
· Police officers who have been involved in the monitoring, investigation and arrest of terrorist suspects.
· Judges who have presided over the trials of accused terrorists, which often involved new and untested laws;
· Statutory officials who have been tasked with overseeing the use of counter-terrorism laws and other national security powers;
Mario Peucker and Debra Smith have edited a new book, The Far-Right in Contemporary Australia, with lots of great authors:
This book is the first to elaborate on radical and extreme right movements in contemporary Australia. It brings together leading scholars to present cutting edge research on various facets and manifestations of Australia's diverse far-right, which has gained unprecedented public presence and visibility since the mid-2010s.
The thematic breadth of the chapters in this volume reflects the complexity of the far-right in Australia, ranging from the attitudes of far-right populist party voters and the role of far-right groups in anti-mosque protests, to online messaging and rhetoric of radical and extreme right-wing movements. The contributions are theoretically grounded and come from a range of disciplines, including media and cultural studies, sociology, politics, and urban studies, exploring issue of far-right activism on the micro and macro level, with both qualitative and quantitative research methods.
Alexandra Phelan has published an article in Studies in Conflict and Terrorism on the Revolutionary Armed Forces of Colombia (FARC), called FARC's Pursuit of "Taking Power": Insurgent Social Contracts, the Drug Trade and Appeals to Eudaemonic Legitimation:
This paper argues that eudaemonic legitimation is a useful tool in understanding how insurgencies seek to justify their "effectiveness" and "performance" vis-à-vis the state in order to enhance authority and mobilise support for their strategic objectives. By examining primary FARC documents, conference and plenary findings, and select interviews with former and active FARC, ELN and M-19 members, it demonstrates how FARC constructed social contracts and integrated illicit financing into its operations as a strategy to appeal to its eudaemonic legitimation in its areas of proto-state influence, in turn aiming to mobilise support and consolidate a full-spectrum normative system. "Effectiveness" in FARC's strategic approach through rule-setting allowed the organisation to expand to control significant portions of Colombian territory, which to a degree impacted positively on social mobilisation and challenged the government's legitimacy by consolidating power structures in areas where there was a lack of government authority. FARC further appealed to social and economic "performance" by using revenue from its fundraising activities through engagement in the coca trade and kidnap for ransom to not only strengthen its military capacity, but also implement social initiatives and provide material goods. In turn, FARC was able to develop zones of security through the creation of social contracts in which stable economic practices were able to solidify, contributing in its effectiveness in providing proto-state authority and allowing for insurgent expansion.
Debra Smith & Steven Talbot have published an article in the Journal of Policing, Intelligence and Counter Terrorism, called How to make enemies and influence people: a Social Influence Model of Violent Extremism (SIM-VE):
This paper proposes a Social Influence Model of Violent Extremism (SIM-VE). In the context of increasing concern regarding the role of the internet in engaging people in violent extremist groups, particular attention is paid to the nexus between offline and online environments. The article addresses some of the barriers to developing predictive modelling to identify who will undertake an act of violent extremism and discusses how the SIM-VE model provides a conceptual framework to inform the development of online data gathering and information sorting processes that are relevant to enhancing structured professional judgement of risk. Strengths and limitations of the model are also discussed.
Finally, Katja Theodorakis and Clint Arizmendi have published a report, Cyber Security in a Contested Age – Geopolitical Challenges and Opportunities for Australia and Germany:
The publication originated as a result of the '1st Australia Germany 1.5 Track Cyber Security Dialogue' held in Canberra in June 2018 – it is not a direct summary of the proceedings but draws on and further develops some of the key themes that emerged during the Dialogue. This Dialogue, titled "Mapping the Field: The New Ecology of Cyber Security Challenges", explored crucial aspects of contemporary cybersecurity issues: geopolitical implications of a shifting global order; international cyber norms; military cyber operations; and public-private partnerships. The attendees, German and Australian cyber security professionals, government representatives, academic experts and private sector representatives discussed current and emerging threats and opportunities in cyberspace to enhance multi-agency and partner coordination and cooperation.
Several distinct trends identified through the Dialogue are addressed in this paper:
•Attribution, deterrence and the problems associated with these concepts a shifting operating environment;
•The effect such trends have upon traditional methods of diplomacy, especially when the integrity and privacy of such engagements is no longer guaranteed;
•What defensive measures should look like. Are methods such as 'hacking back'effective and/ or productive?; What are our responsibilities and accountabilities, as democratic societies in choosing such measures?
Australia and Germany share similar challenges and approaches in this field. Questions at the forefront of policy-making debate query how governments can keep up with technology industry innovation that often out paces, if not drives, military adaptation. How can deterrence and attribution be used effectively – from a national security perspective – against a backdrop of societies that seek to be increasingly anonymous and where privacy legislation, such as the GDPR (General Data Protection Regulation), has global implications for governments and the private sector alike? At the same time, the two countries' cyber security strategies also differ on a number of aspects; in this way, to compare and contrast approaches can be fruitful for gaining a deeper understanding of the problem-set and what can be done about it. Ultimately, the analysis paper will demonstrate that in order to effectively manage and mitigate within a cyber ecosystem, a combination of political leverage, diplomacy, dialogue and deterrence is required in order to safeguard State sovereignty.
This entry was posted in Resources by andrew.zammit. Bookmark the permalink.


Joseph Morpurgo is unlike other comedians. Every year he marks himself out with wildly inventive shows that keep the audience gripped from start to finish. Each show follows the same basic format: a flawed character telling his story using excellent multimedia effects, but so far they have all been wildly, inventively different in every other regard.
Memories are all we have in the end; so says our ageing raconteur. But he has Alzheimer's disease, and is in a bid to record his life story before he forgets everything.
In this engaging and funny solo show, writer and performer Dylan Cole becomes Austin Michaels, former Scrabble World Champion. Where once Michaels knew literally thousands of words, now he resorts to writing singular nouns on Post-Its – "granny", "house" – and speaking into a dictaphone to record events he wishes to remember.


text:
require 'spec_helper'

describe ThinkingSphinx::ActiveRecord::Callbacks::DeleteCallbacks do
  let(:callbacks)  {
    ThinkingSphinx::ActiveRecord::Callbacks::DeleteCallbacks.new instance
  }
  let(:instance)   { double('instance', :delta? => true) }

  describe '.after_destroy' do
    let(:callbacks) { double('callbacks', :after_destroy => nil) }

    before :each do
      allow(ThinkingSphinx::ActiveRecord::Callbacks::DeleteCallbacks).
        to receive_messages :new => callbacks
    end

    it "builds an object from the instance" do
      expect(ThinkingSphinx::ActiveRecord::Callbacks::DeleteCallbacks).
        to receive(:new).with(instance).and_return(callbacks)

      ThinkingSphinx::ActiveRecord::Callbacks::DeleteCallbacks.
        after_destroy(instance)
    end

    it "invokes after_destroy on the object" do
      expect(callbacks).to receive(:after_destroy)

      ThinkingSphinx::ActiveRecord::Callbacks::DeleteCallbacks.
        after_destroy(instance)
    end
  end

  describe '#after_destroy' do
    let(:index_set)  { double 'index set', :to_a => [index] }
    let(:index)      { double('index', :name => 'foo_core', :primary_key => :id,
      :document_id_for_key => 14, :type => 'plain', :distributed? => false) }
    let(:instance)   { double('instance', :id => 7, :new_record? => false) }

    before :each do
      allow(ThinkingSphinx::IndexSet).to receive_messages :new => index_set
    end

    it "performs the deletion for the index and instance" do
      expect(ThinkingSphinx::Deletion).to receive(:perform).with(index, 7)

      callbacks.after_destroy
    end

    it "doesn't do anything if the instance is a new record" do
      allow(instance).to receive_messages :new_record? => true

      expect(ThinkingSphinx::Deletion).not_to receive(:perform)

      callbacks.after_destroy
    end

    it 'does nothing if callbacks are suspended' do
      ThinkingSphinx::Callbacks.suspend!

      expect(ThinkingSphinx::Deletion).not_to receive(:perform)

      callbacks.after_destroy

      ThinkingSphinx::Callbacks.resume!
    end
  end

  describe '.after_rollback' do
    let(:callbacks) { double('callbacks', :after_rollback => nil) }

    before :each do
      allow(ThinkingSphinx::ActiveRecord::Callbacks::DeleteCallbacks).
        to receive_messages :new => callbacks
    end

    it "builds an object from the instance" do
      expect(ThinkingSphinx::ActiveRecord::Callbacks::DeleteCallbacks).
        to receive(:new).with(instance).and_return(callbacks)

      ThinkingSphinx::ActiveRecord::Callbacks::DeleteCallbacks.
        after_rollback(instance)
    end

    it "invokes after_rollback on the object" do
      expect(callbacks).to receive(:after_rollback)

      ThinkingSphinx::ActiveRecord::Callbacks::DeleteCallbacks.
        after_rollback(instance)
    end
  end

  describe '#after_rollback' do
    let(:index_set)  { double 'index set', :to_a => [index] }
    let(:index)      { double('index', :name => 'foo_core', :primary_key => :id,
      :document_id_for_key => 14, :type => 'plain', :distributed? => false) }
    let(:instance)   { double('instance', :id => 7, :new_record? => false) }

    before :each do
      allow(ThinkingSphinx::IndexSet).to receive_messages :new => index_set
    end

    it "performs the deletion for the index and instance" do
      expect(ThinkingSphinx::Deletion).to receive(:perform).with(index, 7)

      callbacks.after_rollback
    end

    it "doesn't do anything if the instance is a new record" do
      allow(instance).to receive_messages :new_record? => true

      expect(ThinkingSphinx::Deletion).not_to receive(:perform)

      callbacks.after_rollback
    end

    it 'does nothing if callbacks are suspended' do
      ThinkingSphinx::Callbacks.suspend!

      expect(ThinkingSphinx::Deletion).not_to receive(:perform)

      callbacks.after_rollback

      ThinkingSphinx::Callbacks.resume!
    end
  end
end

redpajama_set_name: RedPajamaGithub


Kansas State Wildcats take on the #5 ranked Texas Longhorns in a battle of Big 12 teams. The game will be played at the Frank Erwin Center on Monday, February 28, 2011. Texas is 8-2 at home and 24-5 overall. The Wildcats are 20-9 for the season and 4-5 on the road.
Texas has won eight of their last ten games and have a one game losing streak coming into this game. Kansas State has won four games in a row and are winners of seven of their last ten games. We will check the odds courtesy of Sportsbet after we preview each team and then we will give our expert pick for your bet.
The Longhorns are coached by Rick Barnes and average over 75 points per game. Defensively they allow their opponents to core 60.7 points per game. Field goals shooting comes in at 46.1%, free throws are 64.2% and they fire 3-pointers at a 38.8% per game for the season. Texas is the 8th best rebounding team in the nation at 40.6 per game and allowing 31 back.
Jordan Hamilton is the leading scorer at 18,8 points per game and he rebounds with 7.5 boards per game. Cory Joseph hands out 2.9 assists per game and averages one steal per game. Tristan Thompson blocks shots at a 2.2 per game rate and rebounds over 7 per game.
Frank Martin is the coach of the Wildcats and they aver 73.2 points per game on offense and allow 65.5 points on defense per game. They shoot 43% from the field and are successful 37% on their 3-point attempts. They are a very weak free throw shooting team at 63.8% but grab 38 rebounds per game on the average and allow 27 boards to their opposition.
Jacob Pullen leads the team in 3 offensive categories. He is the leading scorer at 19.7 per game and he tosses 3.7 assists per game to his teammates and also makes 1.7 steals per game. Rodney McGruder mans the paint for the Wildcats as he hauls down 6.2 rebounds per game and shoots 44.5% from the field.
Sportsbet odds has Kansas State +9.5. These are two good team and Kansas State has not fared well on the road but they have won 4 games in a row and can match Texas point for point in the game. Rebounding for the texas Longhorns will be the key. If they can keep Kansas State off the boards then it is possible for them to make it a small run away game. However, too many statistics are even for this game and with our expert pick bet Kansas State +9.5 at Sportsbet for this game.


The Green Architect was commissioned to re-design inside and out a 60's house build and turn it into something modern and new. Emphasis was made on retaining the family space however we completed reinvented this house and revealed to the client some incredible new opportunities using light and space.
The Green Architect were commissioned to design a mixed use scheme consisting of student accommodation and commercial units. Todays latest design standards and techniques have been used to provide excellence in design alongside a proven business model. The business plan allowed funding to be successfully secured and the scheme to move into Planning.
The Green Architect will work with you on any size project helping you visualise your ideal home design. Our 3d technology gives those who struggle to read plans a real sense of what is going to be built prior to any on site works.
The Green Architect are Architects in Newcastle upon Tyne providing a full professional suite of Architectural services across the North East. Our expertise resides in residential, master planning, commercial, and health sectors. We work in private, public, refurbishment, new build and environmentally sensitive areas. Our team includes two Architects and graphic designer, with a portfolio of master planning for large residential estates, individual one off houses, social housing, extensions and refurbishment projects and where appropriate.
The Green Architect are Architects in Newcastle upon Tyne providing a full professional suite of Architectural services across the North East. Our expertise resides in residential, master planning, commercial, and health sectors. We work in private, public, refurbishment, new build and environmentally sensitive areas. Our team includes two Architects and graphic designer, with a portfolio of master planning for large residential estates, individual one off houses, social housing, extensions and refurbishment projects and where appropriate, The Green Architect demonstrates and unlocks sustainable potential.
This contemporary set of apartments with integrated restaurant is in progress. Further details will be coming soon but in the mean time, here is a sneak peak.
For Whitley Bay High School in the North East, The Green Architects were commissioned to design a new flexible outdoor space for mobile outdoor teaching, student performances including musical, entertainment, and presentation displays. The pavilion follows working with students during an engagement session to come up with ideas, designs and uses.
Educational spaces and buildings, both temporary construction and permanent educational facilities.
Food Sector Architecture, Sustainable Commercial Kitchen Design, Restaurant Layout Architects.
Modern Contemporary Architecture, Efficient Space Saving Architecture, Classical Residential Construction Designs.
Bespoke Architecture under Conservation Policy, Sensitive Environment Design and Development.
The Green Architect in Newcastle works on Project BRs, Building Regulation Software bringing Regs software to the Construction Industry.


GTT Communications has today announced a partnership with Global Cloud Xchange (GCX) for the delivery of 100GbE connectivity between the US and Europe.
GCX will provide the 100 Gigabit Ethernet connectivity on its trans-Atlantic FA-1 North and South cables, in order to help GTT provide high-speed, low-latency connectivity services to its multinational clients.
GTT operates a global Tier 1 IP network and the addition of 100 Gigabit waves will significantly increase its backbone capacity.
"We are seeing an increasing demand for high-bandwidth connectivity, driven by new technology and cloud-based applications, and we must always ensure that our network leads the industry in terms of technology and cost efficiency," said Wilfred Kwan, COO at GCX.
In June last year, GCX deployed a four-fibre-pair direct link between India and Singapore, with 100G capabilities.


Donnie McClurkin has stepped back into music with a testimony following a near-death car accident where he experienced "God's omnipresent power." In a nutshell, it's reminder that even when things appear to be over, God has the final say.
Press play up top and take a listen to Donnie McClurkin's new song, "Not Yet," the first single from his upcoming eighth solo album (date TBD).
All good things eventually come to an end.


MOSCOW (MRC) -- By the year end, the calculated consumption of PET granulate in the Russian domestic market continues to decline. In November, this figure fell by 23% compared with the previous month and made about 24 thousand tonnes, according to MRC analysts.
The peak of consumption was in March and made 72.6 thousand tonnes, and then it had gradually been decreasing during the year. This trend resulted from falling sales in the sectors of final consumption, which prevented converters from getting rid of accumulated inventories.
In November, production volumes significantly reduced. Following the month's resultes, domestic producers of PET made 25.6 thousand tonnes of granulated polyethyleneterephthalate, which was 4 thousand tonnes less than October output. In general, this was equivalent to 60% of the total loading capacity of domestic plants for the production of granulate.
The fall of the total production resulted from the suspension for a scheduled turnaround of Senezh and Polief.
In November, due to the continuing maintenance works, Senezh stood idle for about 20 days, Polief - about 10 days. During the turnaround PET granules were not produced at these enterprises.
The imports were lowering too. In November, the Russian domestic market imported about 6 thousand tons of PET, against 6.7 thousand tonnes in the previous month. At the same time, export shipments of PET increased by 2.5 thousand tonnes in comparison with October and made 7.7 thousand tonnes.


text:
The Taínos Refused to Grow Food. The Spanish Starved.
Rebellion against invasion triggered a series of events that would take a "swift and violent toll" on a Caribbean island's native biodiversity.
How Influenza Devastated the Navajo Community in 1918
Like COVID-19, the 1918 influenza pandemic moved swiftly through the Navajo community, but firsthand accounts of the devastation are rare.
Lingua Obscura
What We Lose When We Lose Indigenous Knowledge
By mistaking a culture's history for fantasy, or by disrespecting the wealth of indigenous knowledge, we're keeping up a Columbian, colonial tradition.
Who Was La Malinche?
La Malinche was a key figure in the conquest of the Aztecs. But was she a heroine or a traitor? It depends on whom you ask.
Who Were the Beothuk, the Lost People of Newfoundland?
The remains of two of the very last of the Beothuk are finally being repatriated to Canada. Why has it taken almost 200 years?
Indigenous Reserves and the Future of the Amazon
Swathes of the Amazon rainforest are set aside for Indigenous peoples to manage. While they aren't conservation areas, they are important to the ecosystem.
Preserving South America's Uncontacted Tribes
There are still tribes living in the Amazon rain forest who carry on their traditional way of life and rebuff attempts at contact.
Reversing the Trade of Māori Tattooed Heads
Preserved heads decorated with tā moko, or facial tattoos, were sacred objects to New Zealand's Māori. Then Europeans started collecting them.
Sea Monsters of the Pacific Northwest
The Pacific Northwest is particularly known for their sea monsters, largely because of the continuity of stories about unidentified sea creatures.
The Struggle for Hawaii
Hawaii has been a state for 57 years, but its history goes back much further.


Over the past few years, faced with dwindling audiences and shrinking government grants, museums around the world have started appealing to younger patrons, reconsidering the definition of high art in the process. In New York, the Met acquired $1 billion worth of modernist art and started incorporating "hack tours" aimed at millennials, which guide guests through the stories and artists behind the Met's weirdest works. The Louvre offers digital tours of its vaulted treasures as a download for the handheld Nintendo 3DS system. And, closer to home, the Royal Ontario Museum has enlisted developers from U of T to help design video games that animate the exhibits. The AGO has undergone one of the most dramatic transformations—it has managed not only to survive but to thrive, shedding its reputation as a stuffy institution and emerging as a vibrant hub for interactivity, cultural discussion and pure fizzy fun.
The mastermind behind the operation is the museum's director and CEO, Matthew Teitelbaum, a quiet 59-year-old with a manicured balding dome and an affinity for skinny ties. Teitelbaum's relationship with the AGO began in his early 20s: he'd lead gallery tours while his father, the painter Mashel Teitelbaum, staged one-man protests outside, demanding the gallery expand its collection to include contemporary Canadian art.
In 2011, he brought in the marketing agency Endeavour (now BT/A) to promote the museum to millennials. He also devised a suite of new mobile apps: one to navigate the permanent collection, another that sends schoolkids on a museum scavenger hunt and a third that lets users customize their photos into cubist or impressionist simulacra.
The following year, Teitelbaum and his team conceived of First Thursdays, a series of monthly late-night parties with a boozy, lively atmosphere that would appeal to youthful visitors. The AGO threw its first one in October 2012, charging $12 a ticket, with performances by the indie rocker Bahamas, a talk by the sculptor Evan Penny and free life drawing classes throughout the gallery. Sensing a hit on their hands—and the possibility of wine spilled on their priceless art—several long-time patrons suggested that Teitelbaum raise prices to turn a profit, but he stayed true to his audience-driven ethos.
Over the next two years, First Thursdays became a monthly destination for big-name artists like Flash, the synth-pop trio Austra and punk legend Patti Smith—online demand for tickets to her appearance in March 2013 crashed the AGO's reservation site. At the same time, the party became an alternative Toronto platform for emerging musicians, with performances from buzz bands like Montreal's Majical Cloudz and Tim Hecker. A ticket to a First Thursday has become a social status marker—guests are constantly bragging about their presence on Instagram, Twitter and Vine.
The next target of Teitelbaum's transformation was the art itself. In 2013, he got the chance to house a touring exhibition on the life of David Bowie, featuring costumes, handwritten ephemera and multimedia installations. He saw Bowie as the perfect counterpoint to age-old subjects like King Tut and Michelangelo. It took some coaxing, but Teitelbaum eventually got his skeptical board members onside by positioning Bowie himself as a work of art.
Giving a glittery rock star the great masters treatment was a huge risk—and a seminal moment in Teitelbaum's mission. It worked: the exhibit drew 150,000 visitors and kicked off a string of wildly successful bookings targeted at inquisitive 20-somethings. They included a showcase devoted to Ai Weiwei, the Chinese pop artist and political dissident; a retrospective of Francis Bacon, the death-obsessed British expressionist; and an exhibit on Art Spiegelman, the Jewish comics artist who turned graphic novels into Pulitzer-winning literature.
These shows focused on culture that was contemporary and irreverent, art whose lasting legacy is still being hammered out—a calculated push against the conventional model of art as historical artifact. As the new audience grows up, the AGO has also created infrastructure for their kids, giving over the lower floor to a children's gallery and the west wing to a hands-on family centre. On weekends, the place crawls with art-minded parents and their preschoolers. The results are already impressive: in 2013–14, attendance was nearly 900,000 (up from 612,000 in 2011–12) and revenues hit $74 million (up from $67 million in 2011–12).
The AGO's youthful rebranding represents something much more than the sum of its parts: a new way of interacting with culture. In the analog age, museums were the only place to preserve and romanticize the past, lest society lose its iconic culture to war, disaster or neglect. But as we enter an era where art is routinely created, curated and maintained online, the need to embalm our history is disappearing. It's no longer enough for museums to be passive shrines to the past. They have to be forums where culture can be discussed and debated, where a Kanye West showcase merits as much floor space as a survey of French impressionist paintings. It's that kind of thinking that will keep the Art Gallery of Ontario partying late into the night.
AGO has become something for everyone and Art for no one.
A combination of pre-school baby minding,Madame Tussaud's, a didactic menagerie, tchotche vendor etc. Just turn it into a club and put it out of our misery.
WHERE IS THE ART, the 'Floor Burger', Richard Serra's pieces (which there are 3),Luciano Fabro's Germania and on, countless pieces unseen for years. Our Carl Andre piece shown in his retrospective at Dia Beacon was one of the best in the show, when did you last see it here?
The duping of our Italian community to build the Galleria Italia, only to have it turned into the longest espresso bar in Toronto, NO ART in site.
Hang on to the AGO Mathew, you have nowhere else to go.
The board of our sage institution seems not to be embarrassed by it's mediocre standing on the world stage. Ask questions. Save up your funds and buy Teitelbaum a non return ticket anywhere.
There will come a day soon when the ROM, AGO and Four Seasons for the Performing Arts are no longer the cool places to play. I've gone to PROM, and the others, it's not original, it's borrowed heavily off of the Power Ball, which itself is a pale imitation of what it once was.


TALLAHASSEE (CBSMiami/NEWS SERVICE OF FLORIDA) — The state Agency for Health Care Administration has quickly appealed after a circuit judge ruled that it improperly awarded a Medicaid managed-care contract in Southwest Florida.
Leon County Circuit Judge Karen Gievers last week rejected AHCA's contract with Molina Healthcare of Florida, Inc., finding the agency exceeded a limit on the number of health plans that state law allows to serve Medicaid beneficiaries in Charlotte, Collier, DeSoto, Glades, Hendry, Lee and Sarasota counties.
But Best Care Assurance filed the lawsuit in August, arguing that state law imposes a limit of four managed-care plans in the region to provide "managed medical assistance" services — the services provided to most Medicaid beneficiaries. The other plans selected in April to provide such services in the region were Humana Medical Plan, Inc., Sunshine State Health Plan, Inc. and WellCare of Florida, Inc.


Motels are a great Orange accommodation option, offering excellent value for travelling groups and are a popular choice for family trips. Choose from staying in the middle of a vineyard set among picturesque rolling green hills, or in the centre of town with the best Orange cafes, restaurants and wine bars at your doorstep.
Visitors wont be limited for choice when it comes to finding a motel, Orange has a great range for all tastes and budgets with a high standard of facilities including well-equipped kitchens, on-site dining and ample parking.
Orange is truly a location worth visiting. Named after Prince William of Orange, this town boasts a range of attractions that many people find it hard to resist. While the area may not be ideally suited for actual oranges to grow, the town of Orange is well known for its apples and grapes.
Whether you are travelling alone or with a group, the Quality Inn Ambassador Orange accommodation options are among the highest quality family accommodation Orange has on offer. At the Ambassador Orange, you get the right facilities, ideal positioning and affordable rates.
The Family Room has a queen bed and, in an adjoining but separate room, has three single beds, perfect for the children. There are televisions in both areas.
The Standard Room has a queen and single bed, flat screen television, and a large bathroom with shower.
The Executive Room is a modern room with a flat screen television, DVD player, and shower.
The Deluxe Spa Room features a king bed and a large, two person spa bath.


What a gorgeous and colourful way to start the new year for KQG. The highlight of the meeting was the most wonderful Pam Holland.
The members were mesmerised while Pam took us on her amazing journey of how she started Quilting. We enjoyed beautiful illustrations of different sources of textiles, the processes involved and the inspirations she finds in nature and humans.
The Kenya Quilt Guild is honoured to have a visit from quilting legend Pam Holland who will be in Nairobi for ten days holding classes.
Pam started off her quilting career with her 1776 quilt, "Heartache, Heritage and Happiness" which she donated to the International Quilt Study Centre and Museum in the US.
In her presentation she will show us how she combines all her skills to create beautiful and original quilts.
Starting from tomorrow, our members embark on their own journey of learning.
Sheryl brought her lovely quilt and Salama Mamas showed off their beautiful blue quilt. Rohini and Delia won a printed panel from Pam Holland as a door prize.
Keep watching this spot for more exciting events.


I used to pile up against the covers and the mountains of stacked pillows and burrow in to read the latest installments from my favorite authors. Woogie, my little wee beastie of a dog, would be cuddled up next to me, well below the blankets, with nothing but his curious black nose sticking out to greet any potential threats.
Nothing could be heard for hours, except the turning of papered pages and the not-so-gentlemanly snores from the tiny critter next to me.
It was adult life at its simplest and I miss it a great deal.
But there's something to be said for waking up to the lyrical babbling of a baby in the crib next to you. Or anticipating his 6 year old big brother knocking on the door to say he couldn't wait another minute to tell us good morning.
I'm honored that I've been blessed by our Almighty Creator in getting to watch my nephews grow into healthy and happy young men. I'm humbled by this incredible gift that my brother has given to me, long after his physical manifestation has gone from this world.
My lazy Sundays don't always seem so lazy anymore.
Now they're filled with diaper changes, kiddo chores, and educational learning disguised as games. They're filled with little people hands helping me "speed" up doing dishes and packing my new little world up into the car to drive to a store or park or mall or museum. It's full of temper tantrums and boo-boos. Of fretful doggy barks and baby wails. It's jammed with regret and wishful thinking.
It's a madhouse on the best of days and full of stressful blubbering on the worse. It's nothing that I thought parenthood would be and it's everything that I've begged to take on.
Life is anything but lazy anymore.
And on days when I miss those mundane moments or my heart is aching from the loss of my twin, I hold his boys a little tighter. I kiss their cheeks a little longer.
And I praise our God a little stronger.


text:
using Google.Api.Ads.AdWords.Lib;
using Google.Api.Ads.AdWords.v201809;

using System;
using System.Collections.Generic;
using System.Text;

namespace Google.Api.Ads.AdWords.Examples.CSharp.v201809
{
    /// <summary>
    /// This code example gets the changes in the account during the last 24
    /// hours.
    /// </summary>
    public class GetAccountChanges : ExampleBase
    {
        /// <summary>
        /// Main method, to run this code example as a standalone application.
        /// </summary>
        /// <param name="args">The command line arguments.</param>
        public static void Main(string[] args)
        {
            GetAccountChanges codeExample = new GetAccountChanges();
            Console.WriteLine(codeExample.Description);
            try
            {
                codeExample.Run(new AdWordsUser());
            }
            catch (Exception e)
            {
                Console.WriteLine("An exception occurred while running this code example. {0}",
                    ExampleUtilities.FormatException(e));
            }
        }

        /// <summary>
        /// Returns a description about the code example.
        /// </summary>
        public override string Description
        {
            get
            {
                return
                    "This code example gets the changes in the account during the last 24 hours.";
            }
        }

        /// <summary>
        /// Runs the code example.
        /// </summary>
        /// <param name="user">The AdWords user.</param>
        public void Run(AdWordsUser user)
        {
            using (CustomerSyncService customerSyncService =
                (CustomerSyncService) user.GetService(AdWordsService.v201809.CustomerSyncService))
            {
                // The date time string should be of the form  yyyyMMdd HHmmss zzz
                string minDateTime =
                    DateTime.Now.AddDays(-1).ToUniversalTime().ToString("yyyyMMdd HHmmss") + " UTC";
                string maxDateTime = DateTime.Now.ToUniversalTime().ToString("yyyyMMdd HHmmss") +
                    " UTC";

                // Create date time range.
                DateTimeRange dateTimeRange = new DateTimeRange
                {
                    min = minDateTime,
                    max = maxDateTime
                };

                try
                {
                    // Create the selector.
                    CustomerSyncSelector selector = new CustomerSyncSelector
                    {
                        dateTimeRange = dateTimeRange,
                        campaignIds = GetAllCampaignIds(user)
                    };

                    // Get all account changes for campaign.
                    CustomerChangeData accountChanges = customerSyncService.get(selector);

                    // Display the changes.
                    if (accountChanges != null && accountChanges.changedCampaigns != null)
                    {
                        Console.WriteLine("Displaying changes up to: {0}",
                            accountChanges.lastChangeTimestamp);
                        foreach (CampaignChangeData campaignChanges in accountChanges
                            .changedCampaigns)
                        {
                            Console.WriteLine("Campaign with id \"{0}\" was changed:",
                                campaignChanges.campaignId);
                            Console.WriteLine("  Campaign changed status: {0}",
                                campaignChanges.campaignChangeStatus);
                            if (campaignChanges.campaignChangeStatus != ChangeStatus.NEW)
                            {
                                Console.WriteLine("  Added campaign criteria: {0}",
                                    GetFormattedList(campaignChanges.addedCampaignCriteria));
                                Console.WriteLine("  Removed campaign criteria: {0}",
                                    GetFormattedList(campaignChanges.removedCampaignCriteria));

                                if (campaignChanges.changedAdGroups != null)
                                {
                                    foreach (AdGroupChangeData adGroupChanges in campaignChanges
                                        .changedAdGroups)
                                    {
                                        Console.WriteLine("  Ad group with id \"{0}\" was changed:",
                                            adGroupChanges.adGroupId);
                                        Console.WriteLine("    Ad group changed status: {0}",
                                            adGroupChanges.adGroupChangeStatus);
                                        if (adGroupChanges.adGroupChangeStatus != ChangeStatus.NEW)
                                        {
                                            Console.WriteLine("    Ads changed: {0}",
                                                GetFormattedList(adGroupChanges.changedAds));
                                            Console.WriteLine("    Criteria changed: {0}",
                                                GetFormattedList(adGroupChanges.changedCriteria));
                                            Console.WriteLine("    Criteria removed: {0}",
                                                GetFormattedList(adGroupChanges.removedCriteria));
                                        }
                                    }
                                }
                            }

                            Console.WriteLine();
                        }
                    }
                    else
                    {
                        Console.WriteLine("No account changes were found.");
                    }
                }
                catch (Exception e)
                {
                    throw new System.ApplicationException("Failed to get account changes.", e);
                }
            }
        }

        /// <summary>
        /// Formats a list of ids as a comma separated string.
        /// </summary>
        /// <param name="ids">The list of ids.</param>
        /// <returns>The comma separed formatted string, enclosed in square braces.
        /// </returns>
        private string GetFormattedList(long[] ids)
        {
            StringBuilder builder = new StringBuilder();
            if (ids != null)
            {
                foreach (long id in ids)
                {
                    builder.AppendFormat("{0}, ", id);
                }
            }

            return "[" + builder.ToString().TrimEnd(',', ' ') + "]";
        }

        /// <summary>
        /// Gets all campaign ids in the account.
        /// </summary>
        /// <param name="user">The user for which campaigns are retrieved.</param>
        /// <returns>The list of campaign ids.</returns>
        private long[] GetAllCampaignIds(AdWordsUser user)
        {
            // Get the CampaignService.
            using (CampaignService campaignService =
                (CampaignService) user.GetService(AdWordsService.v201809.CampaignService))
            {
                List<long> allCampaigns = new List<long>();

                // Create the selector.
                Selector selector = new Selector()
                {
                    fields = new string[]
                    {
                        Campaign.Fields.Id
                    }
                };

                // Get all campaigns.
                CampaignPage page = campaignService.get(selector);

                // Return the results.
                if (page != null && page.entries != null)
                {
                    foreach (Campaign campaign in page.entries)
                    {
                        allCampaigns.Add(campaign.id);
                    }
                }

                return allCampaigns.ToArray();
            }
        }
    }
}


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Efforts to protect the public from emissions of the toxic chemical ethylene oxide from plants like Sterigenics in suburban Willowbrook made a significant step forward. A bill that sets standards for the monitoring and enforcement of emissions throughout Illinois was recently passed by the Illinois State Senate.
State Sen. John Curran (R) of Downers Grove sponsored and field Senate Bill 1854 which acts as an amendment to the Illinois Environmental Protection Act. Facilities would be subjected to mandatory random inspections and testing, and random ambient air testing at least four times annually. The bills are heading to the Illinois House of Representatives next.
Sterigenics was temporarily shut down by the Illinois Environmental Protection Agency after record-levels of ethylene oxide were detected near the Willowbrook plant. The chemical is used in the process of sterilizing medical devices and other equipment.
For complete information and to schedule a free case evaluation by the experienced personal injury lawyers at Cooney & Conway, call toll free at 800-322-5573 today to discuss your case with a knowledgeable representative. You can also fill out the free consultation contact information form and a qualified associate will promptly respond to your inquiry.


text:
Chadwick Boseman's Brother Kevin Has Cancer Too
Chadwick Boseman's Brother Kevin Boseman Reveals He's In Remission From Cancer
Chadwick Boseman died on Aug. 28 after four-year battle with colon cancer.. And now, one of his older brother Kevin Boseman is celebrating two years of being in remission.
Kevin Boseman, 48, shared the news on his Instagram Story on Wednesday. "Today marks my official two-year remission anniversary," Kevin wrote. "October 14, 2020."
"I was diagnosed with cancer in 2018 and underwent four rounds of chemotherapy. I'm in remission!!!!! You read right. I am in remission," Kevin Boseman continued.
"In order to love who you are, you cannot hate the experiences that shaped you." – Andrea Dykstra
A post shared by KEVIN BOSEMAN (@kevinboseman) on Jul 15, 2020 at 3:53pm PDT
Kevin, a dancer and choreographer based in New York City, added he shared the news "because while it's been a year of profound loss and tragedy for so many of us, this is good news."
"Something to smile about. Something to shout about," he continued. "I hope you're smiling and shouting with me. Cancer is something most of us have no control over. We can only control our responses to it, which includes being proactive about our healthcare both physically and mental."
"Tomorrow is not promised and early detection saves lives. Health is wealth. True wealth," he added.
TSR STAFF: Brianne D! @beedev_ ____________________________________ While the Boseman family has been mourning the unfortunate passing of their loved one, #Chadwick, they are also celebrating a win for his brother, #KevinBoseman. Earlier this month, Kevin took to Instagram, revealing that he too had been diagnosed with cancer, but is happy to be in remission. ____________________________________ "Today marks my official two-year remission anniversary, October 14, 2020," he wrote. "I was diagnosed with cancer in 2018 and underwent for rounds of chemotherapy. I'm in remission!!!!! You read right. I am in remission." ____________________________________ Similar to Chadwick, Kevin said he initially did not share the news publicly, but felt this time of remission is something "to smile about" in a year full of so much tragedy. ____________________________________ "I wanted to share because while it's been a year of profound loss and tragedy for so—click the link in our bio to read more!
A post shared by The Shade Room (@theshaderoom) on Oct 27, 2020 at 8:14am PDT
Related Topics:Chadwick BosemanChadwick Boseman's BrotherKevin BosemanNews
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Upcoming Rapper Kent Won't Stop Found Dead In Car Trunk
Chadwick Boseman's Widow & Parents Split Actor's Estate
Celebrities And Fans Share Tributes Marking One Year Since Chadwick Boseman's Death
Twitter Reacts To Chadwick Boseman Losing At The 2021 Oscar Awards


Simply click here to conduct an instant diagnostic scan for Out Of Memory Errors & connected errors.
Out Of Memory Errors error codes are often brought on by misconfigured files inside your MS Windows operating-system.
If you experience Out Of Memory Errors error code then we firmly suggest that you perform an error code scan.
The following document provides information that teaches you the best way to get rid of any MS windows Out Of Memory Errors error messages both by hand and / or automatically. Furthermore, this guide will allow you to solve any typical error messages related to Out Of Memory Errors error which you might pick up.
1. What is Out Of Memory Errors error message?
2. The causes of Out Of Memory Errors error?
3. Ways to quickly fix Out Of Memory Errors error.
What is Out Of Memory Errors error?
A Out Of Memory Errors error is the numerical data format of the error code produced. It's the normal error format utilised by Windows as well as other Microsoft Windows compatible applications and device driver manufacturers.
This particular code is required by the supplier to identify the error code made. This Out Of Memory Errors error gives you a numeric code as well as a technical description. Often the error code may have more factors in Out Of Memory Errors formatting .This additional hexadecimal code will be the address of your system sections in which the directions are filled at the time of the error code.
What can cause Out Of Memory Errors error code?
Typically, the Out Of Memory Errors error code may be due to Microsoft Windows system file failure. Broken system entries are usually a serious danger to the performance of any system.
There can be lots of situations which may have resulted in file errors. A partial install, an unfinished uninstall, bad erasure of programs or devices. It can also be brought about if your system is infected by malware or adware invasion or through an improper shut down of the laptop or computer. Any of the preceding events can result in the removal or corruption of Windows system files. This corrupted system file will lead to missing or incorrectly connected information and files essential for the optimal functioning of the system.
The best ways to easily solve Out Of Memory Errors error code?
4) Pick the most current restore date from the "select a restoration date" list, then click on Next.
1) Download and open this (Out Of Memory Errors) repair tool.
This is an alternative Out Of Memory Errors repair utility you can use if the preceeding application does not work anymore.


You've shaken hands with the client, filed away the signed contract, and deposited your first payment. Now what? Before your team can dive into a project, the project manager must break down the scope of work into smaller, manageable tasks.
This first step can seem daunting at first. Especially on larger projects. But once you find a methodology that works for you, the process becomes more intuitive. Having performed a few hundred trainings and webinars for our task management software, Intervals, I've discussed several different methodologies with our customers. In this post, I've written about the three most popular methods for breaking down a project into manageable tasks.
Many project managers choose to break down the project very little, if at all. Instead of managing a job with multiple small tasks, they tackle it with one overarching task. This methodology works well for smaller projects with fewer details, because there is less information to track.
For example, a creative agency working on a business card redesign may opt to track the entire job on one task. All of the meeting notes, thumbnail sketches, and design comps would be in one place. The task itself contains a chronology of task updates along with the amount of time spent.
This approach works in this scenario because there is no added benefit to managing the project with more granular tasks. And you can find out at-a-glance how much time was spent, without having to run a report. But, this approach can also fail if the amount of information becomes too much for one task.
Creating a task for each deliverable is one of the most straightforward methodologies, and by far the most popular. The idea is to break down the project into tasks that correlate to client deliverables. This way, each task can be closed out as it's deliverable is completed. And as the project progresses, the task list gets smaller.
A good example for this type of project is a web site design project. Each step along the way is comprised of different deliverables to be reviewed by the design team and the client. There might have one task for wireframes, one for copywriting, one for a first round of design comps, and so on.
Breaking down projects in this way has several benefits. We can easily gauge where the project is at based on what tasks have been completed. Task due dates inform us if we are behind schedule or pulling ahead. And, we can easily delegate tasks across our design team with clear and concise communication as to who should be working on what.
Projects that are repetitive in nature, like retainer agreements, work well when broken down into tasks representative of date ranges. The tasks don't correlate with any specific deliverable. Rather, they detail the nature of the work to be completed in that timeframe.
For example, an agency that does SEO work may sign a retainer agreement to monitor keywords and generate content for a client's web site. They would create a task for a writing weekly blog posts, then use that task to keep track of details, progress, and time spent. Some agencies will use one new task each week, while others might use one task for all weeks in a given month or year. I've seen agencies use both approaches effectively.
This approach works well for tasks that have a given shelf life, regardless of whether or not the work is considered complete. When coupled with time tracking software we can gain highly useful metrics on retainer projects. Quickly calculate how much time was spent on weekly blog posts and use that data to determine if the retainer is profitable or not. Just one of the many useful outcomes of breaking down a project into timeframed tasks.
If you are looking for a better way to manage your projects and tasks, try one of the methods above of breaking down projects into tasks. The method you choose will depend entirely on your projects and preferred style of workflow. These three methods are the most common for good reason — they work well for a majority of agencies. And they each pair nicely with our task management software, Intervals. If you don't already have an account, create a free and fully functional 30 day trial to try it out.


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text:
Plastin-3 is a highly conserved protein that in humans is encoded by the PLS3 gene on the X chromosome.

Function

Plastins are a family of actin-binding proteins that are conserved throughout eukaryote evolution and expressed in most tissues of higher eukaryotes. In humans, two ubiquitous plastin isoforms (L and T) have been identified. Plastin 1 (otherwise known as Fimbrin) is a third distinct plastin isoform which is specifically  expressed at high levels in the small intestine. The L isoform is expressed only in hemopoietic cell lineages, while the T isoform has been found in all other normal cells of solid tissues that have replicative potential (fibroblasts, endothelial cells, epithelial cells, melanocytes, etc.). The C-terminal 570 amino acids of the T-plastin and L-plastin proteins are 83% identical. It contains a potential calcium-binding site near the N-terminus.

Clinical significance

Defects in PLS3 are associated with osteoporosis and bone fracture in humans and in knockout zebrafish.

References

Further reading

EF-hand-containing proteins


text:
Manuel Lapuente (né le  à Mexico) est un entraîneur de football mexicain.

Biographie

Ancien attaquant international (13 sélections et 5 buts en équipe du Mexique), Lapuente s'est distingué en tant qu'entraîneur en remportant cinq titres de champion du Mexique en 1983 et 1990 avec Puebla, en 1995 et 1996 avec Necaxa et en 2002 avec América.

Il a dirigé la sélection mexicaine lors de la coupe du monde 1998 et a remporté avec elle la Coupe des confédérations en 1999 après une victoire en finale au Stade Azteca contre le Brésil (4-3).

Il est actuellement vice-président du Club América.

Carrière d'entraîneur
 1979-1984 : CF Puebla
 1984-1986 : Tigres UANL
 1986-1987 : Angeles de Puebla
 1987-1988 : CF Atlante
 1988-1989 : CD Cruz Azul
 1989-1993 : CF Puebla
 1994-1997 : Club Necaxa
 1997-2000 : Équipe nationale du Mexique
 2001-2003 : Club América

Footballeur international mexicain
Entraîneur mexicain de football
Joueur du CF Monterrey
Joueur du CF Puebla
Naissance en mai 1944
Naissance à Mexico
Sélectionneur de l'équipe du Mexique de football
Sélectionneur vainqueur du championnat de la CONCACAF ou de la Gold Cup
Sélectionneur vainqueur de la Coupe des confédérations


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text:
"Blood Brother," "Kuchu" win Thessaloniki awards
Steve Hoover's Blood Brother (pictured), Nikos Dayandas's Little Land, and Katherine Fairfax Wright and Malika Zouhali-Worrall's Call Me Kuchu were among the winners at the 15th Thessaloniki Documentary Festival.
By Adam Benzine
Steve Hoover's Blood Brother (pictured), Nikos Dayandas's Little Land, and Katherine Fairfax Wright and Malika Zouhali-Worrall's Call Me Kuchu were among the winners at the 15th Thessaloniki Documentary Festival.
The Greek festival, which ran from March 15-24, also gave prizes to Ross Domoney's The High Price of Gold and Dimitris Koutsiabasakos's The Grocer.
Meanwhile, the EDN Award – presented annually to an institution, group or person for outstanding contribution to the development of doc culture – went to Stefano Tealdi and Joan Gonzáles, for more than 15 years of "contributing to the outstanding development of the Southern European documentary culture."
The full list of winners follows below:
Audience Award for a film over 45′ in the International Selection: Blood Brother by Steve Hoover (USA, 2012)
Audience Award for a film under 45′ in the International Selection: The High Price Of Gold by Ross Domoney (Democratic Republic of Congo / UK, 2012)
Audience Award for a Greek film over 45′: The Grocer by Dimitris Koutsiabasakos (Greece, 2013)
Audience Award for a Greek film under 45′: A Heritage: In Deep Agony by Kyriaki Malama (Greece, 2013)
FIPRESCI (International Federation of Film Critics) Jury Awards
Award for a film in the Greek selection: They Glow in the Dark by Panayotis Evangelidis (Greece, 2013)
Award for a film in the International selection: Parts of a Family by Diego Gutiérrez (2012)
Amnesty International Award
Best film dealing with human rights issues: Call Me Kuchu by Katherine Fairfax Wright & Malika Zouhali-Worrall (USA, 2012)
WWF Award
Best film in the 'Habitat' section: Little Land by Nikos Dayandas (Greece/France, 2013)
ERT3 (Greek Public Television) Broadcasting Award
Best film in the 'Habitat' section ex aequo: Little Land by Nikos Dayandas (Greece/France, 2013) and Winter Nomads (Hiver Nomade) by Manuel von Stürler (Switzerland, 2012)
Each of the films will receive an award equivalent to the sum of €1,500 (US$1,940) and will be broadcast by ET3 in Thessaloniki.
Docs in Progress Award
Best documentary in the 'Docs in Progress' session of the Doc Market: Aunty, directors/producers Manu Gerosa and Salva Muñoz, Oneworld Documakers, (Italy/Spain)
The award is €15,000 worth of post-production services from the Greek company Authorwave.
ERT (Greek Public Television) Doc on Air Award
Best EDN Pitching Forum 2012 project: Playing with Fire, directed by Anneta Papathanassiou and produced by Photini Economopoulou (Greece).
EDN Award 2012
Stefano Tealdi and Joan Gonzáles
Blood Brother, Call Me Kuchu, Little Land, Nikos Dayandas, Steve Hoover, Thessaloniki Documentary Festival
Thessaloniki fest taps "Salma," "Blood Brother," "Staircase 2″
Sundance '13: "Blood Brother," "The Square" win awards
"The World Before Her", "Call Me Kuchu" take top Hot Docs awards
An inside look at Inside Out


ZEEN101Support and DocumentationZEEN101 DocsLeaky PaywallLeaky Paywall FAQHow do I import my existing Stripe subscriptions into Leaky Paywall?
When we import our existing users, what field of data should we put in your Subscriber ID field? Stripe customer IDs, or subscription IDs ?
The user meta field is _issuem_leaky_paywall_' . $mode . '_subscriber_id' where mode is either "live" or "test". If you're setting up Subscriptions, you should add the subscription ID… if you're not setting up subscriptions, just use the customer ID.


Geli Raubal, daughter of Adolf Hitler's half-sister Angela, was said to be the only woman that Hitler ever truly loved. During the early years of the Nazi Party's rapid rise in the political sphere of the Weimar Republic, young Geli caught the eye of her much older "Uncle Alf", leading to years of Raubal being kept as something of a hostage to Hitler's desires. Ultimately, it would end in the mysterious death of the 23-year old Geli Raubal, and lead Adolf Hitler into an alleged period of deep depression at one of the most crucial points in his career.