The author's 130mm f/5 Newtonian; used to explore northern Spring skies.
The Spring sky offers many delightful sights for the backyard observer. While the nights are shorter, the temperatures are generally milder and more conducive to observing for prolonged lengths of time. In this project I have selected what I have come to discover is a first-rate grab 'n' go telescope(which can be tested!!!); a customised 130mm f/5 Newtonian reflector. It has a very well-figured SkyWatcher primary mirror with state-of-the-art and durable high reflectivity coatings, an upgraded secondary mirror(with the same high reflectivity coatings) with a modest 26.9 per cent central obstruction. The tube is lined with cork and overlaid with flocking material to provide excellent contrast and good thermal stability, ideally suited to high resolution work. The primary and secondary mirrors have easy to adjust hand screws to achieve ultra-precise collimation in seconds. It cools very quickly, and provides gorgeous, high-contrast images at magnifications from 26x to over 500x when conditions allow. It proved very cost-effective too; typically a small fraction of what I had already spent on similarly sized telescopes in the past. The instrument sits stably on my Vixen Porta II alt-azimuth mount, equipped with slow motion controls on both axes, and which allows me to move the telescope very smoothly and precisely, even at ultra-high powers. I can lift the telescope and tripod with one hand and whisk it into the garden where I let it acclimate for about 20 to 30 minutes (the latter if high resolution targets are being imaged) prior to use.
And a few other smaller 60-63mm apochromats to boot.
Only through extensive field experience did I learn that they all had their limitations. The 3- and 4 inch refractors ran out of light too quickly and didn't have enough resolving power for my particular interest in close double stars. And while the 5-inch refractors certainly delivered more light and better resolving power, I quickly grew tired of adjusting their pivot points on a large and heavy mount on the fly, and straining to attain a comfortable observing position whilst observing objects at high altitudes.
Above all else, I learned that if you're not comfortable observing, you won't stick at it for very long!
Enter the modified 130mm f/5, pictured above. Its lighweight, quick cool down time and with optical performance more closely aligned with a 5-inch than a 4-inch refractor, quickly won my admiration. It was another one of those sweet experiences one ocassionally stumbles upon in life. I just found it hard to fault.
But it was the sheer ease of use, the comfortable positioning of my body in all sky orientations, that finally convinced me to give up on similar sized refractors. Nowadays, the largest refractor I have any interest in is a humble 80mm f/5 achromat; the subject of my next book. Furthermore, the fact that none of my former associates (mostly refractor nuts and "fair weathered" friends, who turned on me because I refused to become a "poodle pusher"), were willing to test and publicly report just how good a 130mm f/5 Newtonian could be, revealed to me all too loud and clear that they were in denial about its capabilities. Their reticence all too easily demonstrated the true level of their experience; which didn't amount to very much, in retrospect!
Sorry to burst your hideous bubble boys, but you're just not credible!
In this article, I want to share with you some of the wonderful sights that grace the vernal heavens and which are accessible to an amateur equipped with a 4- or 5-inch telescope. The observations I will report are from a fairly dark, rural sky, which enjoys excellent transparency, owing to the frequent weather systems that sweep up particulates very effectively, as they move in off the Irish Sea. What's more, they are fairly easy to find and are a joy to study from the comfort of my back garden.
Let's begin our journey with a visit to Messier 3, a bright(magnitude +6) globular cluster on the border between Bootes and Canes Venatici. To find it, imagine an invisible line between the bright orange star Arcturus and Cor Caroli(itself a rather fetching double star for small telescopes). Almost exactly half way between these stars, binoculars will pick up a fuzzy star about half the size of the full Moon in an otherwise unremarkable patch of sky. Keen eyed individuals from the darkest sites will likely detect it with their eyes, but so far it has eluded this author's visual acuity.
Charged with a power of 87x (Parks Gold 7.5mm), M 3 is an arresting sight, with a bright, rather condensed core surrounded by a distinctly more ragged periphery. If conditions permit, crank up the power to 135x(an old 4.8mm T1 Nagler) and you will be able to resolve quite a few of its outlying stars. Indeed, I find that more stellar members can be seen in M 3 than in the more celebrated M 13, even though the latter is brighter and slightly larger. Averted vision will help you see many more stellar members. Spare a thought for the prodigious distance of M 3; 27,000 light years from the solar system. At this distance, this magnificent bauble of starlight spans a diameter of about 180 light years, inside of which some half a million suns reside. M 3 was discovered by the great visual observer, Charles Messier, who first observed this globular cluster on the faithful evening of May 3, 1764.
Every increase in telescope aperture provides an improvement to the view. Seen through my 12-inch F/5 Dob at powers of 250x or above, it is a truly mesmerizing sight!
Though the large and imposing constellation of Auriga is now past its best for northern viewers, it is still very well placed fairly high in the western sky immediately after sunset. Binoculars capable of delivering an 8-degree field of view can just frame the three Messier open clusters( M36, M37 and M38) running through the belly of the constellation in more or less a straight line. Messier 37 is both the grandest and eastern-most of this trio of galactic clusters, and is easily tracked down in the finder of a small, backyard telescope.
At 26x (Celestron 25mm X-Cel LX) in the 130mm reflector, the cluster presents rather like a loosely packed globular cluster about the half the size of the full Moon, in a rich stellar hinterland of the Milky Way. But as one begins to increase the magnification beyond 60x or so, the true nature of this object manifests to the eye. The impressive light gathering power and resolution of the 130mm presents a gorgeous field of faint stardust comprising some 150 members. This cluster takes magnification quite well and is very much worth a closer look with a higher power ocular. At 118x (Meade Series 5000 5.5mm UWA), M 37 is an awe-inspiring sight, with stars of mostly equal glory filling the field of view. I feel it is the near uniformity of the brightness of the stars in this cluster that renders it so visually engaging, with a distinctly orange-tinted sun at the centre of the cluster; and you'll definitely see that distinctive hue a little better in a larger aperture 'scope. M 37 lies about 4,500 light years away from the solar system.
The constellation of Cancer is distinguished from many others in that its brightest stellar luminaries(including Epsilon Cancri at magnitude + 6.3) are actually fainter than the most celebrated Messier object within its borders. I speak of course of the magnificent M 44, more commonly known as the Beehive Cluster, which is easily tracked down with the naked eye on a dark, moonless night as a large, roughly circular third magnitude glow, approaching the meridian about 10pm local time at the beginning of April. A wonderful object for large binoculars, which pull in about 60 stars, a medium aperture telescope greatly increases the tally of stellar members that can be seen, increasing the number to well over 100. Using my 25mm Celestron X-Cel LX eyepiece delivering a true field of 2.3 angular degrees at 26x in the 130mm f/5 Newtonian, the ~ 1.5 degree wide Beehive is very well framed for study. The field explodes with the light of mostly white stars, many of which(perhaps 20 per cent?) appear to be double or multiple in nature. Higher powers will, of course, pull in still fainter members down to magnitude +12 or so, but its glory is somewhat diminished owing to the inability of the same eyepiece to capture the entire cluster within its narrower field. This rather loosely arranged galactic cluster provides clues to its more advanced age, which is estimated to be about 800 million years. M44 is located at a distance of just under 600 light years from the solar system.
Contrary to received wisdom(read parroted, armchair ignorance), Newtonian reflectors make very neat double star telescopes. I have personally been astonished how well they operate on these targets, having examined a great many systems with a variety of Newtonians over the last several years. Indeed, the 130mm f/5 has rapidly become one of my favourite instruments to divine double and multiple stars, where it has resolved pairs as tight as 0.9″ under ideal conditions. What is more, it is a decidedly better instrument than the finest 4-inch refractor money can buy, its extra light gathering power and resolution coming into its own particulalrly on fainter pairs. Our next target is not especially difficult to resolve but it does present as one of the spring sky's most beautiful binary star systems. Also known by its more common name of Izar, it is easily located with the naked eye late on spring evenings, where it can easily be made out as a magnitude +2.5 field star off to the northeast of Arcturus. Through the 130mm reflector, Izar presents as a beautiful colour-contrast double with a bright orange primary(magnitude +2.8) and fainter, magnitude + 4.8 secondary with a soft bluish hue, giving rise to its latinised nickname, Pulcherrima (the most beautiful!). Intriguingly, the secondary is actually a sun-like star in its stage of evolution, yet the eye sees it as something altogether different! I love to observe Izar regularly throughout the spring and summer months with the 130mm, usually charging it with a power of 260x (Parks Gold 7.5mm coupled to a 3x Meade Barlow lens). On the steadiest evenings the Newtonian presents the stars as lovely round Airy disks, surrounding by a faint first diffraction ring. Separated by about 3.0″, it is best seen when the system rises to a decent altitude above the eastern horizon, which in early April, is not attained until around midnight or later. If at first you don't succeed with this system, try again on a calmer night when it's higher in the sky.
On April evenings, Ursa Major lies very high in the sky and is ideal for observing objects within its borders. Our next target is a pair of bright Messier galaxies easily tracked down by following an imaginary line from Phecda (Gamma Ursae Majoris) through Dubhe(Alpha Ursae Majoris) and extending this line about the same distance again. Use your finder to look for a 7th magnitude smudge. If you find it hard to track down with your finder, try using a 10 x 50 binocular. The 5.1″ Newtonian charged with a power of 26x frames both galaxies very well within the same field, where I can easily make out a round, softly glowing smudge with a noticeably brighter centre. This is the celebrated spiral galaxy M81. Just half an angular degree to the north you'll see a cigar shaped smudge about twice as long as it is broad and about a magnitude fainter; the irregular galaxy M82. For a better view, I like to crank up the power to 59x using an Explore Scientific 11mm (82 degree AFOV), which considerably darkens the sky allowing me to study both galaxies better in the spacious 1.35 degree true field. With averted vision, I can just trace out the faint spiral arms of M81, but in many ways I think M82 looks more interesting, as its smaller size makes its surface brightness that little bit higher than M81. M 82 appears distinctly mottled to my eye owing to prominent dust lanes coursing through its mid-section. It is also actively birthing stars. Both galaxies lie about 12 million light years away.
Our next port of call doesn't lie too far away from M81 & M82. Easily spotted in 10 x 50 binoculars as a 8th magnitude glow, Messier 51( the Whirlpool Galaxy) is easily tracked down about 3.5 degrees to the southwest of Eta Ursae Majoris, the end star of the Plough handle, and just across the border in Canes Venatici. Easily discernible as distinctly non-stellar at 26x in my 5.1″ f/5 Newtonian two distinct glows can be seen at a glance in the low power field. To get a better view though, crank the power up to beyond a 100x or so to increase the image scale and darken the background sky. At 118x in my 5.5mm Meade Ultrawide angle eyepiece, the view is quite compelling. Hints of the spiral nature of M51 can just be made out in this small telescope as can its smaller companion galaxy, NGC 5195. With good dark adaptation and averted vision, you may just be able to make out the famous luminous bridge 'connecting' the two. I find that the sky needs to be very transparent and still to glimpse this structure. It also helps being so high in the sky at this time of year where the effects of the atmopshere are less severe. Failing that, if you place M51 just outside the field of the view, examining NGC 5195 for signs of a slight increase in brightness in the space separating the two galaxies. Of course, M51 and NGC 5195 are much better seen in larger instruments such as my 12″ telescope, but it's always good to visit this historically significant face-on spiral, as it was first delineated using the great 72 inch Leviathan of Parsonstown back in 1845 by visual means. Astronomers reckon NGC 5195 brushed past M51 about 100 million years ago and is now 'behind' it. Both galaxies lie about 26 million light years away.
Our next object, the rich open cluster, M67, is often overlooked on account of the greater splendour of Cancer's most illustrious object, M44. To find it, move your telescope a little under two angular degrees west of Alpha Cancri(Acubens). Easily visible in binoculars as a rougly elliptically shaped misty patch about the size of the full Moon, my 130mm Newtonian at 59x resolves this pretty cluster into a mound of several dozen faint stars quite similar to M37 at first glance, the brightest of which shine at the 10th magnitude of glory. Cranking up the magnification to 118x allows you to pick off many more members bringing the stellar tally upwards of 100. The faintest members of this 300+ strong cluster are not resolved in this small telescope but rather presents the illusion of nebulosity wreathing its way throughout its 25′-wide frame. To my eye, the stars are arranged in curious swirls with an overall shape quite reminscent of 'incandescent seahorse' set adrift in a vast ocean of space. The cluster is believed to be quite advanced in age; 3 to 5 billion years by most astronomers' reckoning, and lies at a distance of about 2,600 light years from us.


text:
Q: How to use args as a json field I want to use this function

function setPlayerInternalData(playerid, key, value) {
    server.UpdateUserInternalData({
        playfabid: playerid,
        data: {
            key: value
        }
    });
}

where key is set by any string I submit to it.
it works for value but idk how to make it work for key.
Thanks for your help !

A: use [] to wrap the key.

let myKey = 'three';
let myValue = '4';

let myObj = {
  [myKey]: myValue
};

console.log(myObj);

A: Just change

Note: I had answered the similar problem at https://stackoverflow.com/a/53123018/6615163 and this is also useful.

...
data: {
    key: value
}

to
...
data: {
    [key]: value
}

It will work.
For more info, check below.
> language = "JavaScript"
'JavaScript'
>
> o = {language}
{ language: 'JavaScript' }
>
> o2 = {language: language}
{ language: 'JavaScript' }
>
> // Let's fix
undefined
>
> o3 = {[language]: language}
{ JavaScript: 'JavaScript' }
>

redpajama_set_name: RedPajamaStackExchange


The Scottish Cycling Circuit Race 2011 will head back to Renfrewshire for the third year in a row but will this year move from Erskine waterfront to Paisley town centre.
The popular event will take place on Sunday 21 August . As well as the races there will be a host of entertainment and activities on offer for spectators including The Clan cycle stunt team showing off their skills.
The event will incorporate the 2011 Scottish Circuit Race Championships, the Youth Road Race Championships and the West of Scotland Circuit Championships.


Deborah Hoffman has worked in the San Francisco Bay Area as a film and video editor for over 25 years, editing numerous internationally acclaimed documentaries. For her work on The Times Of Harvey Milk, she received a National Emmy, and the film received an Academy Award. Other documentaries she has edited include Marlon Riggs' Peabody Award-winning Color Adjustment, National Emmy winners Ethnic Notions and Men Who Molest, and Academy Award winner Common Threads, in which she was one of three editors. With her partner Frances Reid, Deborah directed Long Night's Journey Into Day: South Africa's Search For Truth And Reconciliation. This feature documentary won the Grand Jury Award at Sundance and received an Oscar® nomination as well as 20 other international awards.
"The first time my mother asked me, 'How exactly is it that we're related?' I was shocked," says filmmaker Deborah Hoffmann. In Complaints of a Dutiful Daughter, a tender exploration of the tenacity of love and the meaning of memory, Hoffmann chronicles her growing understanding of her elderly mother's struggle with Alzheimer's disease. Shaped by Hoffmann's honest, witty confessional-style narration, the film examines a timely subject: as Americans live longer, more and more people are faced with the life-altering challenge of caring for an elderly parent. Newly widowed, 78-year-old Doris Hoffmann decides to move to California to be near her daughter. At first, the filmmaker views her mother's increasingly strange behavior as simple forgetfulness. With a dry wit, Deborah chronicles Doris's bizarre obsessive stages.
In the Banana Period, Doris eats banana after banana, unable to remember that she's just finished one. In the Hearing Aid Period, she telephones her daughter's answering machine repeatedly, at five-minute intervals, desperately trying to locate her missing hearing aid. "I was constantly looking for a way to connect, and a way to know what she's thinking and what she's feeling, and what I should be doing," says Hoffmann. "But it was more like interpreting dreams."
As primary and often frustrated caregiver, Hoffmann shared her experiences with friends, who urged her to videotape her thoughts and experiences. Complaints of a Dutiful Daughter "was really done out of necessity," says Hoffmann, an accomplished film editor whose credits include The Times Of Harvey Milk and Color Adjustment. "It was an all-consuming situation that I needed to deal with in a film."
Eventually, Hoffmann discovers that her mother is suffering from Alzheimer's disease. A desire to cure the incurable gives way to a growing acceptance of the fact that the Doris Hoffmann her daughter remembers no longer exists. "Little by little," the filmmaker explains, "the only real remaining memories are childhood and very early adulthood. And she remembers her parents fairly well. But what I always thought of as her life, what I knew to be her life — which was me and my brother and my father and the 50 plus years she lived in New York — that's kind of disappeared, which is a little hard for me to take." Their former relationship irretrievably obscured by memory loss, the two women forge a new friendship, based not on a shared past but on an abiding love that transcends long-forgotten particulars. "She is the ultimate of living in the moment," Hoffmann says proudly of her mother in the film's closing monologue. "She's sort of the ultimate enlightened person."
Born out of love and frustration, Hoffmann's directorial debut weaves together old photographs, home movies, and modern video footage to create a heartfelt, exceedingly intimate evocation of the enduring bond between two people.
Nominated for an Academy Award®, winner of both the Teddy and Caligari awards at the Berlin Film Festival, the film also touched the hearts of many at the Sundance Film Festival and was voted Audience Favorite at San Francisco's Frameline Film Festival. The late Chicago Tribune film critic Gene Siskel said, "Complaints of a Dutiful Daughter is the best film about Alzheimer's disease that I've seen."
Filmmaker Deborah Hoffmann with her mother, Doris.
Courtesy of "Complaints of a Dutiful Daughter"
Filmmaker Deborah Hoffmann with her mother's suitcases.
A portrait of one of Doris Hoffmann's suitcases.
True Lives is presented by American Documentary, Inc. and National Educational Telecommunications Association.


text:
Glamping In Margaret River, Western Australia: Surf Retreat
Our Guide to Finding the Best Scuba Diving Wetsuit (Steamer)
The Best Dive Booties for Women: Buyer's Guide
The Best Standup Paddleboards: Buyer's Guide
Q&A with Sensi Graves: Kitesurfer and Bikini Designer
My Hotel Has Fish Feeding: What Do I Do?
The Best Beach Games to Play This Summer
10 Inspiring Women Surfers
With more women taking up the sport of surfing every year, there's reason to be excited about what the future...
The Best Surf Camps in Europe
With delicious food, intriguing culture, and ancient architecture, a surf trip along the Atlantic coastline is an immersive experience. If...
The Best Surf Camps in Panama
Often overlooked as a surf destination because it lives in the shadow of Costa Rica, Panama has an abundance of...
10 Incredible Benefits of Surfing
The initial benefits of surfing are obvious—old fashioned fun, time spent in nature, physical fitness quickly come to mind no...
The Best Surf Charters Around the World
Every surfer dreams about taking a boat trip. It's a rite of passage for anyone who fantasizes about perfect, empty...
The Best Surf Camps for Women
Want to make friends in seaside paradise? Consider going on a women's only surf trip! These surf camps for women...
The Best Surf and Yoga Camps Around the World
Searching for a trip where you can combine your love of travel, surfing, and yoga? These are the best surf...
Surfing at the Summer Olympics: What You Need to Know
Many of us are excited that surfing has been elevated to a global stage. If you're wanting to watch surfing...
Surfer Slang 101: Surf Term Dictionary
There are few sports around the world that have cultivated their own slang as iconic as surf culture. In this...
Is it Possible to Surf a Tsunami?
We blame Hollywood for giving us ideas of surfing apocalyptical-sized tsunamis and tidal waves. In this article, we take a...

redpajama_set_name: RedPajamaCommonCrawl


text:
Stefan von Weberstedt (även skrivet Steffan van Weberstedt) fick 1519 Borgholms slott och län (Öland) som förläning av Kristian II efter att han erövrat slottet från svenskarna.

Referenser

Män
Personer i Sverige under 1500-talet
Avlidna 1500-talet
Födda okänt år

redpajama_set_name: RedPajamaWikipedia


text:
Q: When I run my for-loop, the returned value is not the correct array value I have tried to switch values, numbers, variables, everything, and nothing seems to work. I am still quite new to arrays so I apologize if it is a simple fix.
The nested loop is supposed to find the smallest value in the array and then return it to the main method, however, every time I just get the first number in the array.
code:
    public static void main(String[] args) {
        int[] arr = {2, 1, 4, 3, 6, 5, 8, 7};
        int min;
        min = findMin(arr);
        System.out.println("Smallest value: " + min);
    }

    public static int findMin(int[] arr) {
        int min = arr[0];
        for (int i = 0; i < arr.length; i++) {
            if (arr[i] < min) ;
            {
                min = arr[i];
            }
        }
        return arr[min];
    }

A: There are two issues in your code,

*

*remove the semicolon from the line where there's an if condition, with the semicolon at the end of the line if condition line is considered as a single statement
        if (arr[i] < min)
        {
            min = arr[i];
        }

*Also, return the min instead of  arr[min]

A: You should replace this line
if(arr[i] < min); with if(arr[i] < min)
and return arr[min]; with return min;

A: I believe it should return the "min" variable; otherwise, you are asking it to find and return the "min" index in the array. If the smallest value in the array was, let's say, 100, the code would have a compile error because the array does not have 100 values in it.
````        int[] arr = {2, 1, 4, 3, 6, 5, 8, 7};
````        int min;
````        min = findMin(arr);
````        System.out.println("Smallest value: " + min);
````        }

````public static int findMin(int[] arr)
````    {
````        int min = arr[0];
````        for(int i = 0; i < arr.length; i++)
````        {
````            if(arr[i] < min);
````            {
````                min = arr[i];
````            }
````        }
````        return min;
````    }

A: First of all you should declare the length of the array using the length method at some point so you can reference it in your for loop:
int len = arr.length();

Second of all, the code should return the minimum, not the array at the index equal to the minimum number.
return min;


Once the OST file is deleted, you may feel the need to recreate the file to let the Outlook work efficiently. This can be done by creating a new OST file with a different pathname and synchronize it with Exchange. Configure your Outlook and initiate working in offline mode with the newly created and synchronized OST.... Method 1: Using Registry Trick – By using the Registry Trick method users can change the location of their OST file irrespective of the Outlook version, be it Outlook 2016, 2013, 2010, 2007, or 2003 all of which use a different location to store their OST files.
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Use a free Tool: You can use free OST file viewer tool to read messages independently without MS Outlook. Convert into PST Format : Another good choice is converting OST file to PST format and later import reslting PST file into MS Outlook 2016, 2013, 2010 and 2007 etc.
The Enterprise Edition of OST2 Converter is a fully customizable OST files conversion tool developed with business needs in mind. The Enterprise Edition allows you to convert OST to PST format files automatically, in accordance with your custom scenarios, to meet your company or personal needs.
Converting OST File to PST File in Outlook 2007 Outlook 2007 is an awesome application used for communication and other data management in online mode. If you want to use this Outlook in offline mode then it is possible by using OST file.


text:
radionotes podcast episodes
006 Sarah Belkner
by John Murch | Feb 10, 2019 | episodes | 0 comments
Sarah Belkner is currently on tour with Missy Higgins. Back in March 2017 they were touring with Olympia and after a show as part of the Adelaide Fringe spoke about their own debut album But You Are, But It Has.
Also, in this episode introduce a new segment called clear-the-tabs and share a little from Darvid Thor, who has announced a release date for their mini-album I'm Never Really Here.
While recorded back then this is the first time it has been shared, Belkner is our feature guest…
To listen, click the green 'play' triangle… [note: may take few seconds to load]
(Transcript of the Sarah Belkner's chat below, check to delivery in audio)
SHOW NOTES: Sarah Belkner episode
Where to find the show to subscribe/follow:
ListenNotes
….and many more. Search "radionotes Podcast" in your favourite podcatcher.
Kate Miller Heidke CONGRATS on being picked to represent Australia at Eurovision
Zero Gravity (Official Eurovision Footage)
Ten Tonnes – Better Than Me (Official Video)
George David Kieffer – Encounters with the Moon (Offical website)
Meg Mac – Something Tells Me (Spotify)
Discoveries:
Bitter Crush – No Spare Change (Official music video)
Mahalia – Do Not Disturb (Offical music video)
Samantha Riott – Bloodletting (Bandcamp) Warning: Adult concepts
Dave Graney & the mistLY – Baby I Wish I'd Been A Better Pop Star (music video) off Zippa Dee Doo What is/Was That/This? (Cockaigne Records)
Clear-the-Tabs:
Caitlin Sullivan – A Page From out through New Amsterdam Records
Hannah Gadsby using Yondr for audience's mobile phones, during her coming Douglas shows
LANKS has announced final dates
Ange Lavoipierre (ABC The Signal) is doing 'Final Form' their comedy show at The Wine Centre (Adelaide Fringe)
Eve Karydas latest video/song is Wildest Ones selling out headline shows right across the country
Sasha March has a Pozible happening, to support their new Single 'Ten Days'
Yumi Nagashima's My Name Is Yumi out thru 604 Recordings
Former Justice Kirby getting married on February 11th, 50 years after he first met his partner
NPR Tiny Desk story on photos taken in during their performances
Ego Mondo featuring Rachel Eckroth within the group – Justice Part One
Official music video for Jealous of the Birds' Blue Eyes
FEATURE GUEST: Sarah Belkner
Free Energy Device Studios
Tim Minchin's 15 Minutes
Cellophane – Sarah Belkner (music video)
Matt Keegan (official page)
Olympia (official page)
Sarah Blasko (official page)
Brendan Maclean's And the Boyfriends (iTunes Pre-order)
Missy Higgins & Friends LIVE (Belkner on keys, BVs and more – ABC)
Preview Future Guest: Darvid Thor
Future feature guest will be Darvid Thor, this episode has a few moments of a more extended chat.
I'm Never Really Here (Bandcamp Pre-Order for mini-album)
Anything (Official Music Video)
Theatre – worth seeing from where I sit:
2 Cats On A Fringe Roof
Peter Pan Goes Wrong
[Radio Production – notes: Feature chat SARAH BELKNER In Q: 8'53 (Sting) Sarah Belkner… Out Q: 45'42" …March 2019 – Track selection, your pick off – But You Are, But It Has]
Theme/Music: Martin Kennedy and All India Radio
Web-design/tech: Steve Davis
Voice: Tammy Weller
You can make direct contact with the podcast – on the Contact Page
(for direct quotes check to audio, first version of transcript by Somerley C at REV)
Tammy Weller [Introduction]:
Sarah Belkner was seen on New Year's Eve rocking out with Tim Minchin, they also have been touring in Sarah Blasko and many other notable performer's bands.
Though – Belkner is a name in their own right – as a producer, composer and musician.
But You Are, But It Has… is the acclaimed solo album released in 2017.
That provides sound pictures across 9 songs, 35 minutes.
Lapping up their Classical knowledge with modern pop sensibilities.
With collaborations on the release with Elana Stone, Brendan Maclean, Ngaiire and Billie McCarthy
John caught up with Sarah just after it's release – in 2017 – during the Adelaide Fringe in The Garden of Unearthly Delights…
John Murch: Sarah Belkner. Welcome to radionotes.
Sarah Belkner: Hi. Lovely to to be here.
John Murch: We're in the back of the Garden of Unearthly Delights. Give us a word picture of what we've got going on.
Sarah Belkner: We have a lot of lights. Something called the Kamikaze that I think we might be treated to hearing some people vomit at some point in the background. It should be great. There go some people now going up on … What's that one called? The Fury? There's some people spinning around the Fury. That air mattress blowing up sound you can hear are some giant balls on water that … A small boy is being put inside the ball and they're blowing air into the bowl that he will be suspended on top of water. Says it's all happening here. There's a sky diver over there. Some bungeeing. Yeah, it's beautiful.
John Murch: And we've got the factory, which is the home of The Magnets, Lawrence Mooney, and Puppetry of the Penis. And right above it, please, if you can, describe the moon tonight because it is pretty much … Once you get over the color and light of the carnival atmosphere, it's dark and then the moon's-
Sarah Belkner: Well, the moon is shining. It's three-quarters, which is one of my favorite. It's waxing, so it's on its way to full. Almost full. Probably about three days away, I reckon.
John Murch: We're going to wax lyrically over the next little while. But before we do, I'm a bit cautious how we actually deal with this. So let's go through this together. There's been different incarnations of your musical monikers over the years, and you have now settled on your actual name of Sarah Belkner. I found out earlier today, you were in the west side choral. You used to actually write choral music, young lady.
Sarah Belkner: I did. I love that you called it west side.
John Murch: What was it?
Sarah Belkner: West side, oh my god. Westlake Girls School is a high school in New Zealand that I went to. That's where I grew up. West side, like West Side Story, like Biggie Smalls. All of the above. So I was in the Westlake Choir. That's where I learned a lot of things. And then I was also in the National Youth Choir in New Zealand. So I sang choral music for years and years, and also started out writing choral music for all sorts of things growing up. So as a 16-year-old, weirdly writing songs and also writing choral music at the same time, which I realize now is quite strange.
John Murch: The actual writing of choral music at such a young age as well. Quite unique in New Zealand?
Sarah Belkner: Yeah. I mean, they were encouraging schools students to write, which is something that the kiwis should definitely be commended for. And there's a big choral festival that happens in New Zealand that's a big deal to high school students, and they have a prize for the top choral work of a high school student. And I was the first person to actually win that, which is really cool.
John Murch: So when you were starting out, you were one of the first people doing this, obviously to be the first one to win the prize. Or did you get a sense there was a going on at the time in that area?
Sarah Belkner: I felt like it was … I don't know. It's hard to tell when you're that young. There's a huge tradition of choral music in New Zealand, so I thought it was … No, it felt like it had been around for a long time, the tradition of choral music. And I definitely had composers that … Even at that age I was looking up to composers like David Hamilton and Eve de Castro-Robertson, who I ended up actually learning under. Yeah, there were already composers around that I was looking up to.
John Murch: Musically, grew up with the sounds of Peter Gabriel as a family favorite.
Sarah Belkner: Yes.
John Murch: The excitement enlightened your face on the mere mention of this man.
Sarah Belkner: And you mention Peter Gabriel, I do blush.
John Murch: I definitely owe a couple of gin and tonics to Jack Colwell who told me to tell you about that.
Sarah Belkner: Did he really? That's really funny.
John Murch: I asked the young man for advice and that's all he could tell me.
Sarah Belkner: And he said, "Just talk about Peter Gabriel for half an hour."
John Murch: Yeah, well, Peter Gabriel arrived where in your life, and how has that traveled with you?
Sarah Belkner: So I was listening to … Well, I guess in context of not just talking about him, but my dad had a vinyl collection, which is quite a classic … That seems to be such a classic sentence, isn't it? For songwriters often it's like, your parents had this vinyl collection. It was the 80's, so Chicago, Toto, Peter Gabriel. Earth, Wind And Fire was a big one. James Taylor. My dad's a huge James Taylor fan. But Peter Gabriel's album So was one that we all … The whole family really liked that … There's some screaming in the background. Anyway, back to PG. So we would listen to that album-
John Murch: PG? Seriously?
Sarah Belkner: That's what people call him. Because I actually got to go Real World Studios in Britain. That's something I haven't told anyone yet. So his album was a big deal for us as a family. We just listened to it a lot and it kept cropping up for me. And then I hadn't listened to his music for a long time, and then around the making of my album, when they come back to you at some point? And so, it was one of those records that, as I was starting to go into the studio, it came back to me and I started listening to it a lot more as an adult, and as a person who'd been making music for a long time now. I came back at it with a more analytical brain, which was really interesting.
John Murch: Did you get a chance of getting a closer encounter with the works of Peter Gabriel?
Sarah Belkner: I did. When I was in the UK last year, I happened to be in Bristol, which is close to Real World Studios. And I'd met Mike who's the manager for Real World Studios the year before … Actually, in WOMADelaide, because he runs WOMAD around the world, and I'd met him through a mutual friend of ours. And he said, "If you're ever in the area, come to Real World Studios." And I was like, "What?" And I'd made my album at this point, which is very heavily influenced by Peter Gabriel's album, and here I was with his … Who is literally his offsider saying, "If you're ever in the area, come to the studio." It's just ridiculous.
Sarah Belkner: And so I did. I ended up very close so I called him and he said, "Come for a coffee," and I did. And he showed me around the whole studio and … Peter Gabriel wasn't there, which I don't think I would have coped with anyway. But he showed me into his personal writing space and I got to see the linndrum that they used on the record, the original gear that they used on that record, and yeah. It was crazy.
John Murch: That personal writing space sounds like it's within the studio. Can you give us some insight into that?
Sarah Belkner: Yeah, it's actually behind the main studios. So you walk up into some trees and there's this … Its own space there. So it is a more private space that he's got at the back of the property.
John Murch: Did you get a sense of views or of items on there?
Sarah Belkner: Oh yeah, totally. It was crazy. He had, just like any writer, had a lot of ideas on the wall and works in progress, and his assistant was literally dubbing off cassettes of demos from decades of work. So they was just going about their daily business. Yeah.
John Murch: Let's directly now relate it to Sarah Belkner who's our special guest, and your writing space and some of those inspirations. Because I'm not asking you to give away that of Peter Gabriel, that's his personal space. But for you though, can you maybe give some insight to where your space is, and what's there?
Sarah Belkner: I've written in various places over the years, but currently … So we've got the studio and then we actually live directly opposite the studio, which is great.
John Murch: This amazes me.
Sarah Belkner: Yeah, I love it. It's door to door, so it's really … And that's just serendipity. It's just how it's worked out.
John Murch: So there's traffic in between.
Sarah Belkner: Yeah. Very leafy lovely street, but I can literally walk across the road and use the equipment and then … But then in our apartment, that is where I do a lot of my writing. I've got my own room and I do put a lot of stuff on walls and just muse.
John Murch: Is there a particular photograph that comes to mind or a particular object?
Sarah Belkner: No, not really. I've been looking at a lot of painters recently. So I've got like Joel Rear who's a modern Australian artist that I really like at the moment. Marguerite Some Frida Kahlo. Yeah. Lot of painters at the moment.
John Murch: You mentioned Our Studio, that is yourself and your husband Richard Belkner. What's this creative partnership about? And if we can pry, how did it all start for you two kids?
Sarah Belkner: Okay. Yeah, I don't mind being asked about it. And for me, it's very normal so it's been interesting to see that people do find it fascinating. And I don't mind talking about it … The professional end of it, I don't mind talking about. Well, we met making music. We made music together before. And then now that we are romantically involved, and we have been for a long time, we make music together for other people as well. So we're in those production roles for other artists, and yeah, it's just something … I dunno. We just have a musical communication that's very special and we have complimentary skills. So where he's very much … He's an incredible engineer. He's really the mouthpiece to people's ideas, so you can give him any idea and he can just find a way to actually make that happen, which sounds … It sounds like, "But isn't that an engineer's job?" It's not actually that straightforward sometimes. To do that well takes a lot of skill.
John Murch: Well, its the articulation you're talking about. About an artist who may not be very articulate having someone else who can bounce it back.
Sarah Belkner: And understanding that everybody has different language in the way that they communicate what they want in music. So for an artist … I am trained, but I don't believe that everybody needs to be. I don't believe that everyone needs to have a degree in music to be a fantastic musician. We've got so many examples of that's not the case that we need that. But then what that means is sometimes trying to communicate ideas, you don't have a written language, so then people have their own way of explaining things. And good producers and engineers are really good at unraveling what they're really trying to get at and what they mean, and helping them to communicate with other musicians or just unraveling what they want in the studio.
John Murch: That's the way you see Richard Belkner's part in this partnership. So what do you bring to it? What's the complimentary aspect that you might wish to refer to?
Sarah Belkner: Well, I guess for him … He's in a technical role and he does produce as well. What I was describing there is quite a producer's role in the communication between … So in my role, I would be the communicator between the artist and the engineer. That becomes that production role, and arranging really. That's really my other geeky thing that I love to do.
John Murch: Well, I want to talk about BVs because that's another big part of your life, but before we do … And it is slightly geeky in a way. The arrangement idea, because sometimes you have to be quick on your feet and I guess other times you get time to brew on some things.
Sarah Belkner: Yeah. Yeah, you do. I mean, I come from a background … Again, with the composition and the orchestral and the choir writing and that thing that you do spend time on those ideas. And when I write my songs, a lot of that is already there. When I'm writing the main part, there'll be counter melodies that I'll then give to Matt Keegan who's my saxophone and clarinet player, and then he'll evolve that or it'll be exactly what I'd thought of at the start. So there's different ways of doing it, but I definitely spend time … But I guess in saying that too, I'll be in the studio and then be like, "We need a keyboard part," and then I'll just come up with something on the spot.
John Murch: In that answer, you mentioned one of the legends of Australian jazz who just happens to be your saxophone, clarinet, wind player. I am a huge Matt Keegan Fan. But to have someone like Matt Keegan, literally on tap it sounds like, how does that professional working relationship work?
Sarah Belkner: Matt and I have a mutual love … Well a mutual love-hate relationship with the saxophone. So he is a saxophonist who also sometimes doesn't like the sound of the saxophone. So him and I mutually-
John Murch: Is Kenny G responsible for that?
Sarah Belkner: Probably. Although, that's making such a comeback at the moment, so watch out. Next album's gonna be ripping 80's sax solos. No, but getting back to Matt, I mean … Him and I have this similar interest in making acoustic instruments sound processed or … I don't know quite what it is. And finding textures that we haven't heard before. So him and I really have a lot of common ground there, like trying to find parts and textures and beautiful … Trying to create beautiful landscapes with a clarinet through this amazing synthesizer rig that he's developed over the years. And he's spent a lot of time on that electronic aspect. He's really been developing that for a long time and it's just been wonderful to have him do that on my clock quite a bit too. And the band's been seeing those incarnations and him literally practicing that and my band's like, "Great!" Because you get to hear these sounds for the first time sometimes.
John Murch: Is this a sense of a studio within a studio that's starting to develop?
Sarah Belkner: Oh yeah. Yeah, we do. Yeah. That's true. Yes. Studio away from home always. We're always thinking about process. It's interesting.
John Murch: Did you first meet him as a jazz musician or at a different point in your life? Where does the Keegan factor-
Sarah Belkner: Yeah, I'm trying to think. He's a very dear friend of Richie, so I did meet him through the studio. Yeah. I'm trying to think how we actually started playing together, though. I definitely saw him playing a lot of jazz, but I always knew in his tone that it wasn't … You could always tell that he's not just trying to rip Coltrane, which is a wonderful thing to do. But he's always looking for his own … You can always tell that he's really searching for his own sound and his own type of music as well. He's not just a traditionalist. I've always been around jazz musician since I was growing up too, because my brother is a wonderful jazz saxophonist. So weirdly, I think that Matt's taken over a bit from growing up with my brother playing saxophone.
John Murch: How important was your brother growing up musically?
Sarah Belkner: Oh, hugely. Yeah. Yeah. So that's where I heard things like Coltrane and Miles Davis and Bill Evans, and all of that was from him. So in my family there were … Everybody was listening to different music. Mum was listening to more classical music. And then my other brother was into grunge, so he was listening to Pearl Jam and Soundgarden and Radiohead and all that. So I got everything. It was a real melting pot.
John Murch: Brand new album. But You Are, But It Has has dropped. It's out on vinyl. People should get it on the wax. The influences within it, with all your work, you haven't had to have a prescription of where the music goes, have you? You haven't had a sense it needed a top 40 or a jazz feel or anything else. Is that true?
Sarah Belkner: No. Yeah, no. I'm constantly looking for my own world, basically.
John Murch: How do you get your own world?
Sarah Belkner: Years and years of searching. No, it is. It's just uncovering-
John Murch: But it's about not getting this, what you call, Sunday Brain as well.
Sarah Belkner: Yeah. I really want to make something new, but I'm very aware as well that we're constantly influenced. You can't not be influenced by everything that you hear. And everything that you see and do is going to influence you in the same … All the music that I heard as a kid and growing up, it all goes into you. But there's this other part where it's like, "I really don't want to mimic things." And I've always had that. I think that's that composers brain that's like, "I want to find my own way of putting that together so I can say something that's just a little bit different to maybe how someone else has said it." And I might end up on the same themes or similar instrumentation to other people, but I still want to find my own … Yeah. I really want to find my own way of saying things.
John Murch: Are you searching outside your own personal stories?
Sarah Belkner: Yeah, I do. I mean, up until this point it's always had some connection to myself. I mean, then there's pure narrative.
John Murch: Talk to me about George in that context of narrative.
Sarah Belkner: So George is a total narrative. There is no George. Sorry, everyone.
John Murch: For those that haven't heard the record, because we can't play music on a podcast, it's that idea of a storybook narrative.
Sarah Belkner: It is. And I'm getting into narrative writing actually much more personally as well. It's gone back to starting to write some short stories and that sort of thing. So I love a good narrative, and that one and also Violence 0f Summer are two. That just came out front to back as its own story, and I really don't know where it came from. It's a very, quite a gothic creepy tale. But I guess it's trying to get a point across of action and reaction, is what I think George is about. So it's something's happened and then it's the story of how … In this instance, it's a young kid and how he's reacting to something that's happened to him, and his reaction is to go and burn down his mother's house. So it's quite an extreme reaction. But I guess it's a cautionary tale or something like that too.
John Murch: We've had those tales over the years. The Doors, for example, talking about reactions to motherhood and how that son mother relationship would be.
Sarah Belkner: Yeah. And I think sometimes narrative is a way to really … You can really spell it out in a narrative through description. Whereas, when it's a literal story … I don't know. That can almost be too close to the bone sometimes maybe. If there's not an example, maybe you have to make one up. Maybe that's what it is.
John Murch: Is that hard when it is a bit too literal and you're pretty much have got some people very close to you who could hear it sooner than later?
Sarah Belkner: Yeah. Nobody has said to me yet, "Oh, that song is" … I mean, that's not true. I've got a song called Joanna that's not on … I haven't actually recorded that song, but that is literally about my friend Joanna. And I know it's hard for her to hear that one. I always sing it when she's in the audience too. She lives in London and I actually only ever seem to sing it when she's there. But I don't know. Yeah. And I know that that's hard for her to hear that song because it is literally about what happened to her.
John Murch: Well, did you write that song obviously for her? And the answer to that is yes. And then to be compelled to want to or happen to sing it while she's there. Is it your way, Sarah, of helping her as part of her healing process, do you think?
Sarah Belkner: I don't know.
John Murch: Why do you feel compelled to sing it while she's there?
Sarah Belkner: It comes from a support place for me. I want to acknowledge … And that's what I do try to do in all of my songs. I really want to acknowledge what people would describe as maybe some of the terrible things that we go through, or just some of the more tricky things. I really like to acknowledge those things so that we feel comforted in some weird way. Yeah. I've always done that with my songwriting. Yeah, that's really what it is.
John Murch: And how have those songs traveled with you? Some of the more challenging personal ones for you over the years. Have you fell out of love with some of these songs?
Sarah Belkner: Yeah. I mean, obviously at the moment I'm mostly just singing the current album. But yeah, it'd be interesting to go back to some of my really earlier things and see how they sit. I don't know. Yeah, I haven't stumbled across anything that I can't sing. I'm quite happy to be emotional too. So even at a show, if something made me upset I would still honor it and do it. I'm not scared of being upset or sad or .. Yeah. Because it's more important to do it then to stop emotions. I'm not really one to … Yeah, I wouldn't stop an emotion.
John Murch: Which then brings up the question of collaborations. Are you keen at this point in your life, now that you've got a whole album out and congratulations on that, are you keen to now go and collaborate some of these emotional feelings? A collaborative record of some sort?
Sarah Belkner: Well, there is actually one in the works with … I don't know if I'm allowed to actually … I can say something about it. A wonderful band called [Castrati 00:20:39]. There's a guy called Jonathan Wilson, different Jonathon Wilson to the very famous Jonathan Wilson. Anyway, he has a band-
John Murch: There's a famous Jonathan Wilson?
Sarah Belkner: There's a very famous Jonathon Wilson, but he has a band called Castrati who are fantastic, and he does a lot of analog synth and modular synthesizer stuff. And we ended up making a record together. So that will be very wonderful.
John Murch: Has it been finished?
Sarah Belkner: Yeah, it's being mixed at the moment. So that's why I feel like I can probably say something about it.
John Murch: What's the vibe on it?
Sarah Belkner: It's a full record. I probably won't say more than that at the moment because there's more to it than that.
John Murch: There's a concept?
Sarah Belkner: There is. There's very good concept, and that's something that I'm more interested in. If someone presents me with stuff and I can hear what I would do on it straight away or it really pulls up something that I'm interested in looking at emotionally, which this was … It was just, "Whoa." As soon as I heard Jonathan's tracks, I just started writing on them straight away. And it was really this really quite dark and quite … I felt like I could explore actually darker material on this than my own for some reason during that time. So yeah, it'll be really interesting for people to hear it. I'm really proud of those songs.
John Murch: I want to ask you about dark.
Sarah Belkner: It's a funny word, isn't it?
John Murch: Sarah Belkner and dark. How do you sit within dark and what does dark mean for you?
Sarah Belkner: I think dark is when you're exploring and … It's good. I really like that you've asked this because I feel like when I read interviews or listen to interviews, that word gets thrown around a lot for stuff that I just … I just guess it's emotional terrain that people are a little bit scared of going into. And when I go further into that emotional terrain that I think people don't sing about as much, that's where I feel like I've really done something. When you do that you feel like you're exploring more interesting terrain. So it's not necessarily dark, because it's not like … It's the wrong word.
John Murch: But there is a depth-
Sarah Belkner: Hefty? Heavy? Stuff that people don't want to talk about.
John Murch: There's also depth of understanding, Sarah, with that as well. You need to be well read in what you're talking about, or at least be well experienced in what you're talking about.
Sarah Belkner: Or it's that you can relate … There's something that you've picked up on that you feel like you can relate to the emotion that that person would have been going through, and it's without judgment. So there's no judgment in exploring that.
John Murch: Is that called empathy?
Sarah Belkner: It is called empathy and that's what-
John Murch: That's a word we don't use much these days.
Sarah Belkner: And that's actually what songwriters … I think the best songwriters are exceptionally empathetic. That's what they're able to do.
John Murch: Can you give an example of those empathetic songwriters that have helped you through working on some of this darker material, your own or collaborative, that we're not talking about?
Sarah Belkner: I love PJ Harvey. I'm a huge fan of PJ Harvey.
John Murch: When were you introduced to PJ Harvey?
Sarah Belkner: When I was at university. I worked in a record shop.
John Murch: not the 1991.
Sarah Belkner: No, it wasn't. It was actually Stories From The City was the first, and then I went back. I worked backwards. I worked in a CD shop so that I could buy CDs, basically. All my money just went back into … I know, it's funny.
John Murch: Oh, you actually bought them?
Sarah Belkner: Yeah, yeah. At cost.
John Murch: Why didn't you just borrow them?
Sarah Belkner: No, no. No. I was legit. I saved up and yeah. So I discovered a lot of music at that time too, and that was literally just educating myself in whatever I could get my hands on pre-iTunes.
John Murch: From Stories From The City to now, what's that Sarah Belkner, PJ Harvey story been like?
Sarah Belkner: Well, she's one of the few artists that I actually love all of her records. Except the new one, maybe not quite as much. I've seen a lot of live clips of that and it seems to translate amazingly live. I couldn't go to the recent gig, but yeah, she's one of those people that her whole … All of her work from start to what she's currently doing, I just think is incredible. She adapts what she does. She's doesn't just stick … Okay, I've made a record that people like. Now I'm going to do that again. She purposefully tries to do the opposite and make herself uncomfortable to find-
John Murch: Where over the years do you think you'll sit yourself in that being comfortable doing the same thing, Gillian Welsh style, v the PJ Harvey I'll do something different every time? Where do you think you'll sit yourself in that?
Sarah Belkner: It's hard to know at this point, but yeah, I definitely would … I'm definitely looking to change and to explore new materials, new territory and not repeat myself.
John Murch: What's your sound palette there?
Sarah Belkner: Oh, wow. Currently, I guess analog keyboards. So there's a lot of Juno and Rodes and Willetzer and old school vintage keyboards I've always been really interested in. And then piano, so grand piano. And then always coupled with some beats. So we use lint drums, NPC, real drums, and then synthesized and acoustic bass as well. So there's always a synthesized element and an acoustic element, every part of the band.
John Murch: So that's the paint. Can I now bring you to something I'm sure you can talk about a lot, and that's the visualization of those paints. What do you see when you-
Sarah Belkner: Oh, wow. All sorts of things.
John Murch: But for this particular record, I'm sure you have particular visions.
Sarah Belkner: I did. I'm trying to think of the landscape. There was definitely a lot of … Interestingly, what's come out through the cover too. A lot of black and iridescent light. A lot of quite deep landscapes of trees and that kind of thing.
John Murch: If we focus on the cover, not to bring you back too quickly, but you're really proud of this cover, aren't you?
Sarah Belkner: Yeah, I am. My friend W.I.L.K. who's a photographer that I've worked with on all of … From the Human EP right through to the album, he's taken all of my photos. Any photo that you see is his. And yeah, it was a concept that he had of lightness coming out of dark, which I think is really appropriate for the themes on the record of … Getting yourself out of difficult situations has been one of the main themes I've found has cropped up a lot. So that idea of finding light in dark. So he chose to use a technique of light painting by Picasso … Well, it's actually not by Picasso, but Picasso did some of the most famous ones where … So you hold the … What's it called? The camera lens open. Aperture?
John Murch: Aperture? Yeah?
Sarah Belkner: Yeah. Held open. Oh, my god. I can talk about technical stuff in the studio, but when it comes to cameras it's not great. So that gets held open and it's dark in the room. I strike a pose and then he comes in front of the camera literally with a torch and paints light and then … Yeah, so that's what we did.
John Murch: What analog camera do you enjoy using?
Sarah Belkner: Oh, god. I don't know. I know nothing about photography cameras.
John Murch: Do you have one?
Sarah Belkner: No, I don't. Yeah.
John Murch: I thought you might.
Sarah Belkner: No, I don't.
John Murch: That was the left field question.
Sarah Belkner: Yeah. I love photography, though. I love looking at photography, but I-
John Murch: drummers do as well.
Sarah Belkner: Yeah, they do too. More visual arts, because I through a painting background really. So through high school and university I was always painting, and it's something I really want to get back to as well.
John Murch: When do you think you'll get time or when-
Sarah Belkner: Oh, god. I don't know. I don't know.
John Murch: We're currently speaking to Sarah Belkner, and this is where we talk about the wild life that you have. So it's wonderful that you just have to cross the road from your abode, with your husband, to go to a studio that you get to share. It's all very close and wonderful. And then, there's a thing called Australia, and New Zealand recently, where you get to tour. And so, the big wide open road must be a mind-blowing experience even as many times that you've done it, and more so with the people you get to do it with.
Sarah Belkner: Yeah, it has been. So I put out a little thing into the world maybe two years ago saying I just want to play more. I want to play-
John Murch: Recently.
Sarah Belkner: Yeah. I wasn't very specific. I would obviously like to do more of my own shows as well, but I just put out into the world that I wanted to be playing. And more original music. So then that came back to me as-
John Murch: That's key, though, isn't it? Because you could've got a lot of cover-
Sarah Belkner: Yeah, I used to do that a long time ago. It's not my scene at all.
John Murch: So what did the universe firstly … Couple of years ago, you send this out. What was the first thing the universe came back with?
Sarah Belkner: Well, initially I was playing with Lanie Lane in her band, and then … Yeah, which was beautiful. And her and I are very different.
John Murch: The music that she does, I find it to be engaging, organic. How do you describe it, for those that don't know Lanie Lane's music?
Sarah Belkner: Yeah, definitely. Engaging and organic is a good way, especially her second album was very beautiful.
John Murch: So the universe came back with her?
Sarah Belkner: Yeah. Well actually, no. I was already doing that with her and I really enjoyed that so much, being in the ranks and playing and getting to work on my skills as a musician. I really enjoyed that on that level. So then the first thing that came … Or actually simultaneously, was doing Chet Faker's tour and joining Sarah Blasko's band. Happened-
John Murch: At the same time?
Sarah Belkner: Around the same time.
John Murch: Two massive Australian tours where they were following each other?
Sarah Belkner: Yeah, and then I did this really weird … and I'm probably gonna jinx it now. But then it started to just … I just ended up doing these back to back tours and they all seemed to slot in and around each other, which some of my other friends who play in multiple bands were like, "Oh, there's no way that that's gonna work." And then literally from November 2015 till about now, January … What are we?
John Murch: March, 2017.
Sarah Belkner: March 2017. I've literally done back to back tours with different people. So from Ngaiire supporting Sufjan Stevens, which was the most ridiculous tour to … Actually a year ago around now. Oh, it was because it was-
John Murch: WOMAD.
Sarah Belkner: Yeah. Because it was WOMAD. No, but we were here for some reason, and that was one of the best tours I've ever been on.
John Murch: What an interesting combination, though.
Sarah Belkner: It was beautiful.
John Murch: Because Niari, at the time, would have been just … She's always been on the rise, but at that stage-
Sarah Belkner: Well, no. Her album had been doing really well about that time, so it was a really good time for her to do something a little different to … Because she'd been doing her band thing, which is all with beats and stuff, and then actually her MD was going to be overseas and she said to me, "Can you musical direct this tour?" And I want to do … I know. It's ridiculous, isn't it?
John Murch: You weren't just on key. You were the MD.
Sarah Belkner: Yeah. I did that tour, which I was really proud of because we came up with some really beautiful versions of her songs. And I know her as a friend as well, so I know what she's capable of in an emotional realm to sing beautiful and more stripped back then, and quite a female element of just having her, me, and Alana Stone on stage together. So the three of us. And then Natalie from Melbourne, from Ainslee Will's band filled in for Alana.
John Murch: So having these people as part of a sisterhood or a collective, a musical mob, so to speak. How has that grown you, Sarah Belkner, as a musician, producer, musical director even?
Sarah Belkner: I just get so inspired by people who write great songs. So Ngaire and Olympia and Sarah Blasko and these women that I've been around who are just … Just writing incredible songs, and again, just not being afraid to tap into emotional sensitive material. And I think women … Men obviously have that ability as well, but these particular women really are delving into that territory and it's just being around that is just incredibly inspiring and getting to play parts that I wouldn't necessarily write that they've written or whoever's played on the record has written, and then getting to play those parts and play things that I wouldn't usually choose. It's been the most incredible education.
John Murch: What emotional development has that been for you as well? Has it made you a stronger person doing this?
Sarah Belkner: I don't know if stronger … Yeah, I guess so. Clearer. More clarity around everything, about why I do what I do and what I'm trying to do. Yeah, so just more clarity I think around everything. And bravery. Yeah, definitely, like in Blasko's case, she's really brave. She's got this really incredible streak of clearness and she knows what she wants and what she wants to do and she does it, and I think that seems so simple, but when you're trying to do that-
John Murch: What is called the music industry is completely away from where you musicians are right now, isn't it?
Sarah Belkner: Yeah, it is mentally. It's definitely a different thing. So then when you're promoting your music and doing all of that, it's so far removed from why you write a song or why you pull up-
John Murch: Which must be healthy though because there are some people that do music to live in that bubble.
Sarah Belkner: Yeah. I don't know why you would do it to live in that bubble.
John Murch: You guys are so far away from that.
Sarah Belkner: It's something that I really can't relate to. And I guess actually being around professional people who have been doing it for a long time too, like Blasko, and being on Chet Faker's tour and those sorts of things. You realize that it's part and parcel as well. So you really need to put a lot of effort into that side of it so that you can make more songs. So that's really important that you do both.
John Murch: Our time is short because you need to leave.
Sarah Belkner: It is, I have to leave. I'm so sorry.
John Murch: But before you do go, we need to talk about this one song. John Lennon. Are you reaching out to Yoko Ono? Speaking about strong, powerful women.
Sarah Belkner: Am I? No, but I was thinking about putting it in the John Lennon songwriting contest. Is that funny? Would that be good? I don't know if she'd like it. It's actually a joke. I don't think I will put it in there.
John Murch: Sarah Belkner. What's the next couple of years got in store for you then?
Sarah Belkner: Well, currently writing-
John Murch: What are you telling the universe you want?
Sarah Belkner: I would like to make my next record as soon as possible, finish writing that and just get that together and be able to do that. And tour as much as possible and go overseas more and just continue doing what I'm doing.
John Murch: Well, congratulations on But You Are, But It Has. Sarah Belkner, a pleasure.
Sarah Belkner: Thank you.
Tammy Weller [Outro]:
Sarah Belkner. 'But You Are, But It Has' is out through Free Energy Device Records.
A tune featuring Sarah Belkner – called Layer on the Love – is to appear on Brendan Maclean's 'And The Boyfriends; album out in March 2019.
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Am Fam Physician. 1998 May 1;57(9):2175-2178.
The etiology of stuttering is controversial. The prevailing theories point to measurable neurophysical dysfunctions that disrupt the precise timing required to produce speech. Stuttering is a common disorder that usually resolves by adulthood. Almost 80 percent of children who stutter recover fluency by the age of 16 years. Mild stuttering is self-limited, but more severe stuttering requires speech therapy, which is the mainstay of treatment. Delayed auditory feedback and computer-assisted training are currently used to help slow down speech and control other speech mechanisms. Pharmacologic therapy is seldom used, although haloperidol has been somewhat effective.
Stuttering is a disorder affecting the fluency of speech. The World Health Organization defines stuttering as "a disorder in the rhythm of speech in which the individual knows precisely what he or she wishes to say, but at the same time may have difficulty saying it because of an involuntary repetition, prolongation, or cessation of sound."1 Stuttering may be divided into developmental dysfluency (which many children experience) and pathologic dysfluency.
Stutterers can display both repetitions and prolongations (primary symptoms), as well as avoidance and frustration (secondary symptoms). The primary symptoms of stuttering can be difficult to differentiate from those of normal developmental dysfluency. The secondary symptoms are often a response to the negative feedback a child receives from family and friends.
Almost 80 percent of children who stutter recover fluency spontaneously or with speech therapy by the age of 16 years.2 Even for children with more severe stuttering, the prognosis is favorable provided that treatment is started early. The outcome is less favorable for individuals who continue to stutter into adulthood.
The prevalence of stuttering varies with age. The disorder occurs in 3.0 to 5.0 percent of preschool-aged children and in 0.7 to 1.0 percent of the general population (excluding preschool-aged children).3 Stuttering is more prevalent in children because of the high incidence of developmental dysfluency in this population. Developmental dysfluency results in brief periods of stuttering that cease by the time a child enters school.
As with many behavioral disorders of childhood, stuttering occurs three to four times more often in boys than in girls.4 The reason for the difference between sexes is not known.
Over the years, numerous theories have been proposed to explain the etiology of stuttering. These theories have generally been representative of the prevailing beliefs of the time in which they were formulated. In ancient Greece, Hippocrates wrote that stuttering resulted from dryness of the tongue. As treatment, he recommended producing varices of the tongue by chemical or surgical means.6 In the 19th century, stuttering was widely believed to be caused by an anatomic defect in the oral cavity. Consequently, surgical procedures, often quite mutilating, were popular treatments. By the 20th century, the prevailing belief was that stuttering was a psychogenic disorder. Thus, operant conditioning and psychoanalysis became the treatments of choice. The psychogenic model went out of favor in the 1960s, in large part because these treatments proved ineffective (personal communication from B. Guitar, August 1997).
Differentiating between normal developmental dysfluency and stuttering is important (Table 1).10 In general, developmental dysfluency involves the repetition of whole words and phrases, whereas stuttering involves the repetition of word parts and the prolongation of sounds. In addition, stutterers frequently speak at a faster tempo, display silent pauses, have inappropriate articulating postures, become more dysfluent in response to stress and are more easily frustrated.11 Even though developmental dysfluency and stuttering have significant differences, the physician may find it difficult to distinguish between them.
Adapted with permission from Van Riper C. The nature of stuttering. Englewood Cliffs, N.J.: Prentice-Hall, 1971:28.
Psychologic and emotional issues must be addressed in the dysfluent child. Stutterers are often teased by their peers. They may not be able to participate fully in school activities, especially those that involve speaking in front of a group. They may be discriminated against when they apply for college entrance, and they frequently have difficulties in developing personal relationships and choosing a career. Stutterers may have a poor self-image, a sense of failure and a passive approach to life situations.11 It is important for the physician to be sensitive to these issues and to offer support and empathy when needed.
Mild stuttering is a self-limited condition, but patients with more severe stuttering require speech therapy and counseling (Table 2). Treatment should be tailored to the individual patient. To have a lasting effect, interventions should be aimed at the abnormal speech behavior, the emotional problems of the stutterer and negative parental attitudes.
One of the keys to success is parental education. Parents should be advised to avoid criticizing their child, to remind the child to speak more slowly and to repeat words that are said indistinctly. Parents should talk to their child slowly and in a relaxed manner. They should allow the child to speak at his or her own pace. Bedtime reading is a good way for parents to model slow, fluent speech while fostering closeness and intimacy.
Frustrations experienced by the child should be kept to a minimum. The aim of treatment is to increase the child's confidence and to reduce the fear of stuttering. Stutterers should be encouraged to discuss the problem openly with friends and family and to explore their feelings about the disorder.
Other treatment approaches are also used. In the shadowing method, the stutterer follows the words spoken by the therapist. The delayed auditory feedback technique uses a tape-recording device that reproduces the voice through earphones after a few milliseconds.12,13 To prevent distorted feedback, the stutterer must slow down his or her rate of speech. Another form of therapy uses the Edinburgh Masker. This therapy is based on the fact that stutterers speak fluently when they cannot hear their own voice. A small apparatus is strapped across the larynx and then attached to a stethoscope-like system. When the stutterer talks, the device is activated and prevents the stutterer from hearing his or her own speech.
In addition to teaching the stutterer how to speak fluently, the speech therapist must also assist with the development of appropriate speech gestures. Fluency initiating gestures (FIGs) help to prevent stuttering. The FIGs include, among others, slow, deep, loud and smooth. These gestures are first taught individually and then in combination.
Attempts have been made to treat stuttering with numerous drugs, including benzodiazepines, phenothiazines, calcium channel blockers, beta blockers and anticonvulsants. Only haloperidol (Haldol) has consistently produced improvement.14 However, most patients are unable to continue using this medication because of its unacceptable side effects. Therefore, haloperidol is not routinely used in the treatment of stuttering.
Much of the literature on stuttering emphasizes the behavioral, cognitive and affective aspects of treatment. The goal of treatment should be to establish and maintain the feeling of fluency control, rather than to attain an arbitrarily determined level of fluency.15 The feeling of control is the key variable in determining whether a patient maintains an acceptable level of fluency after treatment is completed.
One formal program for stuttering divides treatment into four different stages: structuring, targeting, adjustment and regulation (STAR).15 In the structuring stage, the patient identifies the feelings, attitudes and behaviors that constitute the stuttering problem. The targeting stage focuses on eliminating the distracting body and facial movements that occur during stuttering. In the adjusting stage, the speech therapist helps the patient to adopt fluency-enhancing feelings, attitudes and behaviors. In addition, the speech therapist assists the patient in becoming an effective self-reinforcer. During this stage, the patient learns to develop and use the universal FIGs. Finally, during the regulating stage, the speech therapist helps the patient to develop the feeling of fluency control and to regulate the use of FIGs outside of the therapy situation.
The computer-aided fluency establishment trainer is another formal program designed to change speech behavior in stutterers.16 This program has been shown to improve speech fluency through a computerized process that provides feedback and guidance to decrease stuttering.
Patients may obtain information on the prevention and treatment of stuttering from the Stuttering Foundation of America (telephone: 800-992-9392).
DAVID M. BARCLAY III, m.d., m.p.h., is assistant professor in the Department of Family and Community Medicine at Temple University School of Medicine, Philadelphia. Previously he was assistant professor in the Department of Family Medicine at the University of Maryland Medical School, Baltimore. Dr. Barclay received his medical degree from Tulane University Medical School, New Orleans, and completed a residency in family medicine at the University of Maryland Medical School. He also earned a master's of public health degree from the Tulane School of Public Health and Tropical Medicine.
Address correspondence to David M. Barclay III, M.D., M.P.H., Department of Family and Community Medicine, Temple University School of Medicine, Jones Hall 821, 3401 N. Broad St., Philadelphia, PA 19140. Reprints are not available from the author.
2. Andrews G, Craig A, Feyer AM, Hoddinott S, Howie P, Neilson M. Stuttering: a review of research findings and theories circa 1982. J Speech Hear Disord. 1983;48:226–46.
3. Cooper EB. Etiology and treatment of stuttering. Ear Nose Throat J. 1980;59:60–81.
4. Debney SJ, Parry-Fielder BR. The child who stutters: theory and therapy in the 1980s. Aust Paediatr J. 1988;24:273–4.
5. Williams DE. Differential diagnosis of disorders of fluency. In: Darley FL, Spriestersbach DC, eds. Diagnostic methods in speech pathology. 2d ed. New York: Harper & Row, 1978:409–38.
6. Hunt RG, Lin Tip Kan. Accuracy of judgments of personal attributes from speech. J Pers Soc Psychol. 1967;6:451–3.
7. Guitar BE. Stuttering and stammering. Pediatr Rev. 1985;7:163–8.
8. Van Riper C, Emerick L, eds. Speech correction: an introduction to speech pathology and audiology. 7th ed. Englewood Cliffs, N.J.: Prentice-Hall, 1984:268.
9. Andrews G, Neilson M, Curlee R. Stuttering. JAMA. 1988;260:1445.
10. Van Riper C. The nature of stuttering. Englewood Cliffs, N.J.: Prentice-Hall, 1971:28.
11. Leung AK, Robson WL. Stuttering. Clin Pediatr [Phila]. 1990;29:498–502.
12. Illingworth RS. The normal child: some problems of the early years and their treatment. New York: Churchill Livingstone, 1987:338.
13. Rosenfield DB. Stuttering. Curr Probl Pediatr. 1982;12(8):1–27.
14. Brady JP. The pharmacology of stuttering: a critical review. Am J Psychiatry. 1991;148:1309–16.
15. Cooper EB, Cooper CS. Treating fluency disordered adolescents. J Commun Disord. 1995;28:125–42.
16. Blood GW. A behavioral-cognitive therapy program for adults who stutter: computers and counseling. J Commun Disord. 1995;28:165–80.


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Home Entertainment News Web Series Where was 'Kingsman' filmed? Read for in detail shoot locations for the series of films
The Kingsman films are action spy comedy films directed by Matthew Vaughn. The film series is based on Dave Gibbons' and Mark Millar's comic book series of the same name. The first film of the Kingsman series, Kingsman: The Secret Service follows the story the recruitment and training of Gary Eggsy Unwin (Taron Egerton), into a secret spy organization. The second Kingsman movie, Kingsman: The Golden Circle follows members of Kingsman needing to team up with their American counterpart, Statesman after the world is held hostage by Poppy Adams and her drug cartel, The Golden Circle. The third part and the prequel of the Kingsman film series will be releasing soon and this has left fans curious about Kingsman filming locations.
Where was Kingsman filmed?
The first film of the Kingsman film series, Kingsman: The Secret Service was shot in various locations. The Council estate where Eggsy Lives is located in London, UK, and is known as the Alexandra and Ainsworth Estate, Rowley Way in Camden. Some parts of the film were also shot in Wrotham Park, Barnet, Hertfordshire in England, UK. The Kentucky church scenes were shot in Deepcut church, Deepcut, Surrey, England.
Also Read: AIADMK General Council Approves Of 'TN's Abraham Lincoln' EPS As Party's CM Candidate
The pub scenes in the film were shot at 6 Black Prince Road, Kennington, London. Many other scenes were also shot in Sharpthrone tunnel, Bluebell Railway, West Sussex. The Kingsman Store Headquarters is located at 11 Savile Row. Harry Hart's house scene was shot in 11 Stanhope Mews South, Kensington.
Also Read: Coronavirus LIVE Updates: India Reports 18,222 Fresh Cases; 19,253 Recoveries In 24 Hours
The second Kingsman film, Kingsman: The Golden Circle was shot in parts of Birmingham, England. Some parts of the film were shot in the Warner Bros. Studios, Leavesden. The cable car and antidote factory sequences were highly praised by the audience. Part of these films was shot on Skyway Monte Bianco and Pointe Helbronner. Some parts of the film were also shot in Courmayeur, Aosta Valley in Northern Italy, and Sri Lanka.
The film featured actors Colin Firth, Taron Egerton, Mark Strong, Edward Holcroft, Hanna Alström, and Sophie Cookson reprising their roles from the first film with Julianne Moore, Halle Berry, Pedro Pascal, Elton John, Channing Tatum, and Jeff Bridges joining the cast.
Also Read: Ex-ISRO Scientist Tapan Misra Alleges Being Poisoned With Arsenic Trioxide In FB Post
The information given in the above article has been sourced from different websites including The Film Fan Travel & Movie Maps
Get the latest entertainment news from India & around the world. Now follow your favourite television celebs and telly updates. Republic World is your one-stop destination for trending Bollywood news. Tune in today to stay updated with all the latest news and headlines from the world of entertainment.


The Financial Ombudsman Service Australia (FOS) has reminded accountants that holding a limited or full AFS licence requires them to be a member of an ASIC-approved external dispute resolution scheme.
FOS said it is encouraging accountants to contact the organisation to become a member of FOS.
"If you hold a limited or full Australian Financial Services Licence, you will need to be a member of an ASIC-approved external dispute resolution scheme like the Financial Ombudsman Service Australia," FOS stated.
The call follows a statement from ASIC last week urging accountants to start the required training for a limited AFSL if they wish to continue providing advice on SMSFs after 30 June 2016.
According to the FOS website, an external dispute resolution scheme is an extension of an accountant's own client dispute management facility that consumers can call upon when they are unable to resolve their complaint directly with the accountant.
"FOS has experienced staff and an expert panel of ombudsmen dealing with disputes relating to financial advice, investments and superannuation disputes," the FOS statement said.


text:
Thank God It Wasn't A Peso is a Mexican fairy tale collected by Americo Paredes in Ajusco, Mexico from J. F., a mestizo man in his fifties, and included by him in Folktales of Mexico.  It is Aarne–Thompson type 1689, Thank God They Weren't Peaches.

Synopsis
A drunkard begs an image of the Sacred Heart for a peso every morning.  A sexton wraps a half-peso piece in paper with a rock to give it some weight, and throws it to him.  It hits him in the head.  The drunkard finds the coin and says if it had been a full peso, it would have killed him.

References

Mexican fairy tales
ATU 1675-1724


text:
Towns County Democrats
Turning Georgia Blue
The Democratic Party is committed to keeping our nation safe and expanding opportunity for every American. That commitment is reflected in an agenda that emphasizes the security of our nation, strong economic growth, affordable health care for all Americans, retirement security, honest government, and civil rights.
We have a bold new direction for a secure America. We seek: 1) Honest Leadership & Open Government, 2) Real Security, 3) Energy Independence, 4) Economic Prosperity & Educational Excellence, 5) A Healthcare System that Works for Everyone, and 6) Retirement Security.
Towns County Democrats support a system that provides affordable and comprehensive health care for all Americans. Such a system cannot exist simply through market forces; it must involve both government regulation and tax-supported subsidies. The Affordable Care Act is a step in the right direction, but it needs to be amended so as to induce all adult members of our society to pay into the system. Comprehensive health care for all Americans should provide affordable access to essential health benefits such as maternity and newborn care, mental health and substance abuse services, access to affordable birth control, and coverage for pre-existing conditions and prescription drugs.
Towns County Democrats believe that science has proven the impact of human activity on climate change, that humankind must adjust its behavior in order to protect the sustainability of life on our planet for future generations, and that government at the local, state, and national levels must play a role in making those adjustments. Residents of Towns County have immediate and compelling interests in protecting their natural resources maintain both their quality of life and their economy, which is heavily dependent on tourism. Democrats are committed to public policies and voluntary activities that will protect the natural beauty of our county.
Towns County Democrats believe that a strong system of public education is vital to the strength and stability of the United States. At present, disparities in educational attainment are a key factor in the growing inequality of wealth and income throughout the country. These disparities weaken the social fabric and competitiveness of the United States. Despite its resource-rich public schools, Towns County possesses poverty and unemployment rates above the national average. Our public schools must focus on assisting both our youth and adult populations in mastering the academic and technical skills required to secure their own economic well-being as well as the overall quality of life of our community. Democrats also should support the public library and efforts by voluntary organizations such as the Ferst Foundation for Childhood Literacy to supplement the public education system.
Towns County Democrats believe that the President and Congress must pass meaningful immigration reform. The majority of undocumented workers in this country are hardworking people who have come to the US in search of a better life for their families. The DREAMERS must be given a path to citizenship. We need both political parties working together to come up with a solution that is both humane and protects American interests. The two goals are not mutually exclusive. We are a country of immigrants. In the past most of our families were also scorned, rejected, and demonized because of their ethnic backgrounds and religious beliefs. However diversity is what truly makes us a great nation.
Towns County Democrats believe in a progressive income tax in which high income earners cannot avoid paying their fair share through excessive deductions and loopholes. The Trump tax cuts of 2017 made our system less progressive than ever. Among other things, they reduced tax rates on corporate profits well beyond what was necessary to make our corporations competitive with those of other countries. These rates must be adjusted upward from 21 to at least 25%. In addition, new legislation needs to be passed to close loopholes and increase rates on investment income, which are currently well below those on earned income. We believe that conservative approaches to tax reform will merely add to the disparity of income and wealth among Americans, the federal budget deficit, and the national debt. The last two of these developments, in turn, will increase pressures to reduce spending on defense, medicare, medicaid, and social security. A strong defense and an adequate safety net are possible to maintain only if the most fortunate among us pay their fair share.
The decay of American infrastructure is a drag on our economy both because it hurts our competitiveness abroad and leaves many people idle who are anxious and able to work on vital projects. Therefore, an immediate and major commitment by the federal government to new spending on infrastructure will stimulate the economy and provide increased income to many struggling middle class families.
As Towns County Democrats, we believe that LGBTQ are entitled to the same civil rights and liberties as all other citizens. This includes the freedom to marry the person of one's choosing and, freedom from discrimination in the workplace and housing, regardless sexual orientation or gender identity.
Towns County Democrats believe that democracy in America should include majority rule limited by individual and minority rights and checks and balances as provided by the constitution. At all levels of government, a competitive two party system is a vital check on the abuse of power. The effective functioning of a checks and balances system reinforced by party competition requires an active and informed citizenry willing to respect the views of others and to compromise rather than adhere rigidly to ideology. A free press committed to reporting accurately on events of the day rather than partisan goals is essential to an informed citizenry.
townscountydemocrats@gmail.com
Georgia 9th District Democrats
Hiawassee, Ga 30546
©2019 by Towns County Democrats


Unfortunately this is a draft version of the user guide and some sections are still missing.
Note: These machine names are aliases for the following names (in order): node004.das2.cs.vu.nl, node006.das2.cs.vu.nl, node007.das2.cs.vu.nl.
Write an e-mail to cstratan at cs.vu.nl to approve the account.
2. Log in using this account and go to Generate new keypair. Press the Generate button and then press the Download button - this way you will get a private key (a user.key file).
4. After you were added to the VO, log in again to the portal and go to Get an XOS-Cert. Download the new certificate and you will have a user.crt file. With this certificate you can prove that you are in the VU-XOS20_new virtual organization.
In order to execute jobs in XtreemOS, you have to log into one of the client machines (node01, node02). You will need to put your key and your certificate on that machine, in the $HOME/.xos/truststore/private and $HOME/.xos/truststore/certs directories (you have to create these directories first). There are more details about certificates in Section 4.1 from the user guide (but the section about VOLife is not complete).
When you submit a job, you need to set up XtreemFS in order to be able to get the output files that the job generates; XtreemOS does not do any file stage-out and the output files will just remain on the machine where the job was executed if XtreemFS is not set up (and you probably will not be able to access them). XtreemOS can mount a home volume for you (almost) automatically; then you can make your jobs write the output files in that home volume. In order to enable the auto-mounting, you have to write another e-mail to cstratan at cs.vu.nl, AFTER you have put your certificate in $HOME/.xos/truststore/certs. I will create your home volume and after that it can be mounted automatically.
(search for "GlobalUserID:"; or search for "Subject:" and remove the "CN=" prefix). For example, for the user xosuser, this ID is: 18f71ca3-fda7-497d-9a97-e14dbad5ad90. After logging in with ssh-xos, you can see a directory with this name in /home/.
You can connect to any node, including the one on which you are already logged in. You will be asked for the passphrase of your private key (note: if you are asked for the account password instead of the passphrase, something is going wrong. Make sure that your key and certificate files are in the right places; if it still doesn't work, e-mail the VO admin :-) ). When you connect, the XtreemFS volume will be automatically mounted and you will be able to read/write files from it. When you disconnect (Ctrl-D), the volume will be unmounted.
For details about how to submit jobs, see section 4.3 from the user guide.
This also applies to the input files, in case your job has input files. You don't need to be logged in with ssh-xos when submitting jobs, but you have to log in at least afterwards, so that you can access the output files (or before, if you have input files and need to put them in the home volume).
This page was last modified 11:32, 14 October 2009.


Resolved: Campus Vouchers for Single Pay vendors can be entered.
Resolved: Approval History Comments Now Showing: Approval history comments on transactions (vouchers, requisitions and journals) created prior to December 10 (before the Finance upgrade) are now showing.
The performance issues for queries that we are aware of have been resolved. Please contact the help desk if you run into a problem with a query.
Resolved: Graybar ePro Vendor Catalog: There was an issue with using Chrome and Firebox browsers for Agilent orders. Please use Internet Explorer to place orders.
Budgets Overview is timing out for some users. There is a recommendation that you create a new run control but it does not work in all cases.
Budgets Overview Search Results and Performance: With the recent upgrade, Budgets Overview results now include chartfield descriptions. Unfortunately, this enhancement impacts performance. If your search retrieves more than 100 rows, you receive the message "More rows are available…" Currently, you can only retrieve up to 300 rows. Remember, the amounts displayed are the totals for the rows returned, i.e. the totals for the first 300 rows only.
The ConnectCarolina team is reviewing known performance issues across Finance. If you encounter a specific issue, please contact the help desk so that we are aware and can work to resolve the issue. Thank You.