text:
SEARCH OUR APARTMENTSResidential Tenant Login • Commercial Tenant Login
SEARCH OUR APARTMENTS
• Residential Tenant Login
• Commercial Tenant Login
Optimus Properties, LLC was started by two brothers, K. Joseph Shabani and Kamyar Shabani, in 2007. But the roots of the Company were laid many years earlier by the brothers' father, Houshang Shabani, who brought his family to the United States in 1978, as political and religious refugees. Having grown up in Los Angeles, Joseph and Kamyar share a love for their hometown that is reflected in their business strategies.
Since 2007, our mission has been to empower our investors to achieve their financial goals by setting ambitious milestones guided by a core mission of shared values and principles.
Integrity and Transparency
We treat our investors with the highest standards of integrity on a consistent basis.
Value People
We respect one another and promote growth from within the company.
As we grow as a company, our responsibility to our community grows as well.
Kamyar Shabani
Principal/Co-Founder
Kamyar Shabani is a Principal and Co-Founder of Optimus Properties, LLC ("Optimus"), an opportunistic real estate investment firm focusing on the acquisition and redevelopment of commercial, retail, office, medical office and multi-family assets. Kamyar oversees all aspects of the Company including acquisitions, dispositions, investor and lender relations, and general investment strategy planning.
K. Joseph Shabani
Along with his brother, K. Joseph Shabani, co-founder and principal of Optimus Properties, LLC ("Optimus"), oversees all aspects of diligence, legal, and property analysis for Optimus Properties' commercial and development acquisitions. Before founding Optimus Properties in 2007, Joseph worked as an attorney focusing solely on real estate matters and was a principal for the family real estate business, with deal sizes ranging from 4,000 to 200,000 square feet.
Jerome Mickelson
Since joining Optimus Properties in 2012, Jerome has been integral in growing the company from a team of 5 to 30+ employees, has overseen the acquisition of over 1,000 units, renovation of approximately 425 residential units and 1.38 million square feet of commercial space. Jerome's creative thinking has helped to streamline operational efficiency within the company through the structuring of human resources and integration of technology systems.
Matt Rothman
Director of Capital Markets
Matt Rothman has been with Optimus Properties since 2014 and brings over 25 years of real estate finance experience, with a strong background in residential, multi-family and commercial real estate assets. He is responsible for underwriting investment opportunities utilizing the company's proprietary underwriting model and is involved with the company's integration of the Argus platform.
Spencer Arroyo
Spencer Arroyo is the Maintenance Supervisor for Roxbury Ventures. He is instrumental in ensuring all maintenance requests are handled appropriately and in a timely fashion. Spencer has a team of associates that report directly to him for guidance, instruction and direction. Mr. Arroyo is a certified plumber and electrician. He is also a licensed welder. Prior to working for Roxbury Ventures, Spencer enjoyed a successful career in his own business as a real estate contractor with projects ranging from but not limited to: re-modeling, framing, and new construction. Spencer's 25 years of wisdom and accumulated knowledge is invaluable which is why he is an asset to the Roxbury Ventures team.
Emanouel Beithagy
Accounting Clerk
Emanouel joined Optimus in 2020 and has a bachelor's degree in accounting. He previously worked as a Staff Accountant and is currently studying to become a CPA. In total, he has about 6 years of accounting experience under his belt. He currently handles full-charge accounting for Optimus, ranging from bank reconciliations to drafting financial statements and much more.
Wendy Camp
Residential Property Manager
Wendy joined Optimus in 2021 with over 20 years experience in customer service and five years of experience in property management. Currently, Wendy is a Residential Property Manager managing units throughout Los Angeles with a strict in adherence to all city and state regulations.
Maintenance Coordinator
Martin joined the Optimus team in 2020 in the administrative department. He is now the Assistant Maintenance Manager and Coordinator. In this role, Martin oversees the day-to-day operations of the maintenance department. Martin is a graduate of Northwood University, from which he obtained his Master's in Business Administration. With a passion for real estate and business, Martin has over 7 years of experience in office and account management.
Gilda Ezadjian
Gilda Ezadjian has over twenty years of accounting and financial experience. Prior to joining Optimus, she was employed as the controller and office manager for Ambrose Properties, where she spent fourteen years managing a portfolio of shopping centers and commercial properties. Gilda speaks five languages, has bookkeeping and accounting certification, and is a member of the American Institute of Professional Bookkeepers. To further advance her knowledge, she is currently working toward receiving a certificate in Financial Planning and Investment.
Gamariel Gonzalez
Staff Accountant II
Gamariel Gonzalez recently joined the Optimus family in January 2017. He also recently graduated from California State Polytechnic University of Pomona in 2016, where he obtained a Business Administration – Accounting Degree. Prior to Optimus, he worked in the property management industry for two and a half years, which gives him a background in asset management as well. Gamariel assists the Accounting Department with ledger adjustments, deposit accounting, journal entries as well as various other projects. He speaks fluent Spanish and wishes to learn a third language.
Ricardo Guiterrez
Ricardo Gutierrez joined Optimus in 2018 as a staff accountant assisting the accounts receivable department for both residential and commercial properties. He has many years of accounting experience in various different industries, including property management. Ricardo has a Bachelor's of Science degree in Accounting and a Master's Degree in Business Administration with an emphasis in Accounting. He speaks intermediate level Spanish and hopes to learn a third language someday.
Jesse Liu
Director of Acquisitions
Jesse joined Optimus as Director of Acquisitions with responsibility for investment strategy, sourcing new investment opportunities, and expanding capital partner relationships. Prior to joining Optimus, Jesse was a Senior Vice President with Watt Investment Partners where he was responsible for the sourcing and management of equity investments. Previously, Jesse was the Vice President of Acquisitions at Laurus Corporation and Originator/Underwriter at Calmwater Capital where he closed over $300 million of senior and mezzanine bridge loans on commercial real estate properties. Jesse began his career as Director of Acquisitions at Levy Affiliated Holdings where he focused on value-add investment opportunities on the West Coast. Jesse received a Bachelor of Science in Economics from the University of California, Irvine.
Jake Mercurio
Acquisition Investment Associate
Jake joined the Optimus team in 2021 as an Acquisition Investment Associate assisting in underwriting investment opportunities, investor relations, and due diligence. Having graduated from San Diego State University in 2017 with a bachelor's degree in Economics, he immediately put that to use in the Real Estate industry. He has been a licensed real estate agent in California for 4 years and continues to follow his passion of seeking real estate investments.
Vanessa Negreros
Vanessa began working in the property management industry in 2012 at Westland Industries and has served over 195 units in her tenure. Vanessa re-joined the Optimus Team in 2020 to professionally manage our newest acquisition. Vanessa currently possesses a Business Administration degree and is actively pursuing her Bachelors of Science in Real Estate at California State University, Northridge.
Tina Nikakhtar
Tina joined the Optimus team in 2021 in the administrative department to coordinate and oversee the day-to-day operations of the commercial portfolios. Originally from Maryland, Tina has a bachelor's degree in International Business from the University of Maryland, College Park. Tina moved to Los Angeles to follow her passion for real estate and business.
Kevin Ostrov
Kevin Ostrov is a Paralegal. Kevin was born and raised in Los Angeles, graduated from UCLA with a BA in History, and attended Loyola Law School. Kevin's areas of specialty include real property law and urban planning/land use, and has more than 20 years of experience in real estate litigation, landlord-tenant law, corporate and partnership law, real estate financing and defeasance. Mr. Ostrov assists with various legal, leasing and corporate matters for the Company.
Sebastien Rhozemont
Sebastien joined the Optimus team in 2021 to work in the Human Resources Department. Sebastien has a bachelor's degree in finance and a Master's in Business Administration from the University of South Florida. Sebastian has worked in human resource departments for large well-known organizations, both in the public and private sectors.
Edwin Rivera joined Optimus Properties in 2016 as a staff accountant overseeing the Accounts Payables Department. Edwin has more than 10 years of experience in both accounting and property management industries. Prior to joining Optimus Properties, He served as an Accounts Payables Specialist at Global Integrity Realty Corporation.
Isabelle Sedghi
Commercial Property Manager
Originally from south Florida, Isabelle has a bachelor's of Communications degree from Florida Atlantic University and has been in the real estate and development field since 2009 in South Florida, Manhattan, and Los Angeles.
Dalton Treadway
Dalton became a member of the Optimus team when he joined as the Administrative Assistant in 2017 and now works as the Asset Management Associate. Dalton oversees the day to day operations of the multifamily portfolio and directs the onsite management team. Raised in Southern California, Dalton has always had a passion for Real Estate. Prior to Optimus, he worked in the property management industry for two years, gaining experience in both residential and commercial property management. He is a licensed real estate agent in the State of California and a California Certified Residential Manager (CCRM).
Emmanuel Zepeda
Emmanuel joined Optimus Properties as the onsite manager for the West Hollywood area, bringing more than 8 years of cumulative experience in the property management field. Working as an onsite manager for that many years, he learned through practical, on-the-ground experience how to serve the diverse demographics of the Santa Monica/Hollywood LA landscape. Emmanuel is currently a Residential Property Manager managing units throughout Los Angeles with a strict adherence to all city and state regulations.
Optimus Properties, LLC
1801 Century Park East Suite 2100
Our Office Hours: 9:00am – 5:30pm
A face mask is required in all common areas.
Visits to our office are by appointment only.
Please call to schedule an appointment.
Residential Tenant Login
Commercial Tenant Login
Copyright © 2022 Optimus Properties, LLC. All Rights Reserved.
Matt has several years of commercial real estate experience in the valuation, acquisition and disposition of numerous property types. He structures the company's transactions, assists with arranging the financing of the company's investment opportunities, as well as oversees property due diligence. His participation in acquisitions of value-add multifamily and commercial projects have led to substantial returns for Optimus' investors. To date, Matt has been involved in 34 multifamily and 20 commercial real estate transactions totaling $235 million of transaction value, consisting of 1.34 million square feet of commercial square footage and 835 apartment units.
Prior to working at Optimus Properties, some of Matt's roles have included leasing and sales at a boutique commercial real estate brokerage, flipping houses in Los Angeles, and opening the west coast office of Commercial Defeasance, the industry leader in CMBS loan defeasance, as their vice president of sales.
Matt is a native of Southern California and graduated from the University of California, Santa Barbara with a Bachelor's Degree in Psychology.
Kamyar Shabani is a Principal and Co-Founder of Optimus Properties, LLC, an opportunistic real estate investment firm focusing on the acquisition and redevelopment of commercial, retail, office, medical office and multi-family assets. Kamyar oversees all aspects of the Company including acquisitions, dispositions, investor and lender relations, and general investment strategy planning. Prior to entering the real estate market full time, Kamyar practiced at Gibson, Dunn & Crutcher LLP in their Los Angeles, New York and Century City offices. Kamyar's ability to combine his legal experience along with his real estate knowledge, has given Optimus a competitive advantage in the marketplace.
Kamyar currently serves as the Chair of the Real Estate & Construction Division of the Jewish Federation of Greater Los Angeles. Kamyar also serves on the Board of Directors for the Jewish Federation of Greater Los Angeles; the Campaign Cabinet and the Finance & Administration Board of the Jewish Federation of Greater Los Angeles; the Board of Advisors of 30 Years After; and the Los Angeles Leadership Council for Birthright Israel Foundation, all of which are non-partisan, registered 501(c)(3) non-profit organizations. Kamyar is also a member of the Real Estate Alumni Group (REAG) of the University of California, Los Angeles and has served as a mentor to participating students through REAG.
Kamyar possesses a Bachelor of Arts in Political Science from the University of California, Los Angeles. Kamyar received a degree of Juris Doctorate from Columbia University School of Law where he was a Harlan Fiske Stone Scholar. He is licensed by the State of California as an Attorney-at-Law.
Prior to him joining the team, Jerome worked in property management for Community Preservation and Development Corporation, a large developer of affordable housing in Washington, DC. Jerome's intimate knowledge of property operations, from leasing file audits and review to approval of all operational expenses and improvements, allows for thorough supervision of the properties and their financials.
Jerome's accounting and financial background, attention to detail and eye for design are the perfect combination for his position managing the redevelopment and operations of the Optimus real estate portfolio. Jerome's input is crucial in Optimus' decision-making process for acquisitions, development and dispositions.
Jerome graduated Summa Cum Laude with a Bachelor of Arts in Economics from the University of the District of Columbia and holds a Master of Business Administration from Colorado State University. He is a California Certified Residential Manager (CCRM).
Joseph's experience stretches nearly 35 years in the business, offering the Company unparalleled insight into market conditions and development in Southern California. Since co-founding Optimus in 2007, he has helped direct the acquisition and disposition of over 70 commercial and multifamily properties, consisting of over 1,000 units and 1 million commercial square feet.
As a company co-leader, Joseph values the internal and external relationships, reputation, and employees as keys to the company's growth and success. Joseph is a recognized industry expert for his ability to understand the entire deal from leasing to disposition.


For many mothers, a kitchen is a place for creating comfort and memories with the entire family. Our Call Me Mom bamboo custom cutting board is a truly gratifying gift for mom. The durable bamboo construction offers unrivaled beauty and functionality for chopping, serving, or display. Personalized with two lines of custom text, it serves as a reminder of the loving family she prepares meals for each day. Every custom cutting board measures 18" x 12" x 1", the perfect size for most countertops and dining room tables. Optional board oil can be added to keep the surface looking spectacular.


Fiona and Nathan had a beautiful August day for their wedding at Dundas. They enjoyed a traditional tea ceremony before coming to the Castle, and spent the day having plenty of fun with their guests. We love the pastel tones Fiona chose, and the beautiful sunlight captured in their photos.


Our Reseller Partner Connect Program is designed to enable you to support your customers' security and compliance requirements by augmenting Alert Logic solutions into your product and services portfolio. The program is simple and structured, making it easy for you to leverage Alert Logic's integrated solution, credible brand and robust resources to develop your own security practice, and support your customers from the moment the agreement is signed.
We use Alert Logic in our solutions because it helps our customers get both best-of-breed technology and service, and a cost-effective way of securing their platform to industry leading standards.
Alert Logic is the leading cloud security service provider, together we consistently help customers increase the innovation velocity by ensuring they can land workloads securely in the cloud.
Alert Logic continually demonstrate advanced capabilities and a similar mindset to ANS, offering an application centric approach to security and leveraging next generation technologies such as machine learning.
Alert Logic offers best-of-breed services and tooling that really complements Ensono's existing portfolio, we want to be able to offer our customers a coherent security service and by partnering with Alert Logic, we're really able to do that.
Get started by filling out the partner application or contacting us at: partners@alertlogic.com with any questions that you may have about the partner program.


text:
<#@ template inherits="ETemplate" language="VB" #>
<#@ import namespace="System.Linq" #>
<# Dim JExt as JExtension = CType(Ext, JExtension) #>
<?php
/**
 * <#= Value("Extension.name") #> View for <#= Value("Extension.name") #> Component
 *
 * @package    <#= Value("Extension.name") #>
 * @subpackage com_<#= StrConv(Value("Extension.name"), VbStrConv.Lowercase) #>
 * @license  <#= Value("Extension.license") #>
 */

// No direct access
defined('_JEXEC') or die( 'Restricted access' );

/**
 * <#= Value("Task.nameObjectList") #> View
 *
 * @since 3.1
 */
class <#= Value("Extension.name") #>View<#= StrConv(Value("Task.nameObjectList"), VbStrConv.ProperCase) #> extends JViewLegacy
{
	protected $items;
	protected $pagination;
	protected $state;
	protected $sidebar;

	/**
	 * Display the view
	 *
	 * @return	void
	 */
	public function display($tpl = null)
	{
<#		   'Check if Helpers task was run.'
			Dim HelpersCn = Aggregate Task In JExt.TaskDictionary
							Where Task.Value.item("TaskName") Like "Helpers"
							Into Count()
		   If HelpersCn > 0 #>
		// Load the submenu.
		<#= Value("Extension.name") #>Helper::addSubmenu('<#= Value("Task.nameObjectList") #>');
<#		   End If #>

		$this->state		= $this->get('State');
		//$this->form		    = $this->get('Form');
		$this->items		= $this->get('Items');
		$this->pagination	= $this->get('Pagination');
		$this->filterForm    = $this->get('FilterForm');
		$this->activeFilters = $this->get('ActiveFilters');

		// Check for errors.
		if (count($errors = $this->get('Errors'))) {
			JError::raiseError(500, implode("\n", $errors));
			return false;
		}
		$this->addToolbar();
		$this->sidebar = JHtmlSidebar::render();

		parent::display($tpl);
	}

	/**
	 * Add the page title and toolbar.
	 *
	 * @since	1.6
	 */
	protected function addToolbar()
	{
		$user = JFactory::getUser();
<#		   Dim myTempNameObject as string = StrConv(Value("Task.nameObject"), VbStrConv.ProperCase)
		   Dim myTempNameObjectList as string = StrConv(Value("Task.nameObjectList"), VbStrConv.ProperCase)
		   Dim ManagersKey as string = JExt.GenText("manager " & myTempNameObjectList, myTempNameObject & " Manager: " & myTempNameObjectList) #>
		JToolBarHelper::title( JText::_( '<#= ManagersKey #>' ), 'generic.png' );
<#		   if StrConv(Value("Task.canCreate"), VbStrConv.Lowercase) = "true" Then #>
		if ($user->authorise('core.create', 'com_<#= StrConv(Value("Extension.name"), VbStrConv.Lowercase) #>')) {
			JToolBarHelper::addNew('<#= Value("Task.nameObject") #>.add','JTOOLBAR_NEW');
		}
<#		   End If
		   if StrConv(Value("Task.canEdit"), VbStrConv.Lowercase) = "true" Then #>
		if ($user->authorise('core.edit', 'com_<#= StrConv(Value("Extension.name"), VbStrConv.Lowercase) #>')) {
			JToolBarHelper::editList('<#= Value("Task.nameObject") #>.edit','JTOOLBAR_EDIT');
		}
<#		   End If #>

		if($user->authorise('core.delete', 'com_<#= StrConv(Value("Extension.name"), VbStrConv.Lowercase) #>')) {
			JToolBarHelper::deleteList('', '<#= Value("Task.nameObjectList") #>.delete');
		}

		if( (isset(current($this->items)->published)) && ($user->authorise('core.edit.state', 'com_<#= StrConv(Value("Extension.name"), VbStrConv.Lowercase) #>')) ){
			JToolBarHelper::divider();
			JToolBarHelper::publishList('<#= Value("Task.nameObjectList") #>.publish');
			JToolBarHelper::unpublishList('<#= Value("Task.nameObjectList") #>.unpublish');
		}

		if($user->authorise('core.admin', 'com_<#= StrConv(Value("Extension.name"), VbStrConv.Lowercase) #>')){
			JToolBarHelper::divider();
			JToolBarHelper::preferences('com_<#= StrConv(Value("Extension.name"), VbStrConv.Lowercase) #>');
		}
	}
}

redpajama_set_name: RedPajamaGithub


text:
Q: How to refrence an object created by Desginer (I'm using default Visual Studio names) How can I reference a texbox object(texbox1) in another custom class in form1.cs file(a class within "public partial class Form1 : Form")
here is my code. In myclass I've written textBox1, but intelisense didn't suggest it to me. I mean. what can I do to make texbox1 show up in intelisence in this situation? changing private to public in form1.Desginer.cs does'nt solve it. plaease answer.
namespace Calculator
{
    public partial class Form1 : Form
    {
        public Form1()
        {
            InitializeComponent();
        }

        class myclass
        {

           textBox1

        }
}

A: The WinForms designer makes components private by default, and ideally you should not expose components (such as controls) directly because it breaks encapsulation. You should proxy fields that you want to share, like so:
public partial class MyForm : Form {

    private TextBox _textbox1; // this field exists in the MyForm.designer.cs file

    // this property should be in your MyForm.cs file
    public String TextBox1Value {
        get { return _textbox1.Text; }
        set { _textbox1.Text = value; }
    }
}

That way you can share data between forms but also maintain encapsulation (though you should choose a more descrptive name than the TextBox1Value I chose.

A: In your nested class myclass, you do not specify which instance of the Form1 class you are referring to. Add a reference to a particular instance of Form1, then you will be able to access its textBox1 member.
Customarily, this can be done like so:
class myclass
{
    public myclass(Form1 owner)
    {
        if (owner == null) {
            throw new ArgumentNullException("owner");
        }

        this.owner = owner;
    }

    private readonly Form1 owner;

    public void DoSomething()
    {
        owner.textBox1.Text = "Hello, world!";
    }
}

This code uses various patterns that are used in such situations:

*

*owner is set in the constructor, thereby ensuring that it is never null

*adding to this, null is rejected by the constructor

*the owner member is readonly, so it is safe to say that it will not change during the lifetime of a given myclass instance

Within a method of Form1, you can then create a myclass instance linked to the current Form1 instance by invoking new myclass(this).

A: You cant just reference it in your nested class as its part of the Form1 class, you will have to pass in a reference
Example:
class myclass
{
    public TextBox MyTextBox { get; set; }

    public MyClass(TextBox textbox)
    {
        MyTextBox = textbox;
    }
}

Then in your Form1 class where you created the MyClass instance you can pass in your TextBox
MyClass myClass = new MyClass(this.textBox1);

redpajama_set_name: RedPajamaStackExchange


text:
namespace webapi_learning.Areas.HelpPage.ModelDescriptions
{
    public class EnumValueDescription
    {
        public string Documentation { get; set; }

        public string Name { get; set; }

        public string Value { get; set; }
    }
}


text:
Auctions big news of 2012: REINZ
New Zealand's median house price reached a new record of $389,000 in December, up almost 10% on December 2011, the Real Estate Institute says.
It released its latest report today and said ongoing strong demand drove robust sales volume growth in the residential property market during 2012.
The number of sales for the year was up 21% on 2011 and was at the highest level since 2007.
But REINZ chief executive Helen O'Sullivan said that despite the strong growth in sales volume, the number of sales compared to the total number of dwellings in New Zealand was well below the long run average and substantially below the peak volume of 2003 when more than 120,000 residential properties were sold.
She said the key drivers of the 2012 real estate market were Auckland and Canterbury/Westland, which combined to make up more than half of the market's activity.
"The strength of these two regions is starting to spill over into other parts of the country with Central Otago Lakes and Wellington both seeing more invigorated markets, particularly in terms of sales volumes. "
She said a key development of the year was the increase in the number of properties sold by action. It grew by more than two-thirds compared to 2011.
O'Sullivan said: "The growth in auction sales has been particularly strong in Auckland where almost two of every five sales are now by auction. The trend in auctions is evidence of the continued tightness of some parts of the residential real estate market where demand is increasing, but supply remains constrained."
REINZ data showed there were 5754 unconditional residential sales in December, an increase of 438 sales compared with the same time the year before but a fall of 22.8% compared to November 2012. On a seasonally adjusted basis December's sales were about in line with November and 14.8% higher than December 2011.
Eight regions recorded increases in sales volume compared to December in 2011, with Northland recording an increase of 37.2%, followed by Auckland with 18.7% and Central Otago Lakes with 18.4%. All regions recorded falls in sales volume in December compared to November - with Northland recording the shallowest fall of 8.8%.
The national median house price increased by $5,750, from $383,250 in November, to a new record high of $389,000 in December, an increase of 1.5%. Auckland's median house price eased by $5,000 to $535,000. The national median house price is up 9.6% compared to December 2011, while the Auckland median price is up 10.5% compared to December in the previous year.
For the month of December, Nelson/Marlborough recorded the largest lift in prices for the month with an increase of 8.3%, followed by Central Otago Lakes 5.9%, and Taranaki with 5.4%. Compared to December 2011, Auckland recorded the highest lift in prices with an increase of 10.5%, followed by Canterbury/Westland with 8.0% and Northland with 6.3%.

redpajama_set_name: RedPajamaCommonCrawl


Would you like your Mirco Cloud Foundry to use a local timezone instead of UTC? Hopefully this propagates to the default timestamp display of whatever programming language you are using. I wanted this for a Java application I've been playing around with. Here are the simple steps I used.
1) Log in to Micro Cloud Foundry using the IP Address displayed on the console as root using the password you supplied when setting up MCF.
You should get an ASCII-GUI that let's you select the timezone.
Local time is now:      Sun Mar 25 13:01:18 PDT 2012.
Universal Time is now:  Sun Mar 25 20:01:18 UTC 2012.
instead of the UTC timezone.
Disclaimer - I am a VMware employee and former WebLogic Server Product Manager at Oracle. I know Arun personally and he is my friend. The views expressed below are mine own and do not necessarily represent the views of my employer. I tried to post this comment on Arun's blog https://blogs.oracle.com/arungupta/entry/why_java_ee_6_is but it was marked as spam.
I'm really surprised to see you trolling Spring like this. I realize that in your job as a Java EE evangelist that you want to advocate for products and frameworks that you are paid to advocate for, but I don't see the point in misrepresenting many of the attributes that people like about the Spring Framework. I find it hard to believe that you actually believe your blog is a balanced and objective analysis. I must say that I never hear the question why should I use Java EE 6 versus Spring and I think it's mostly a contrived question. Evans Data surveys indicate that about 2/3 of Java developers are using or will use Spring http://www.vmware.com/company/news/releases/vmw-spring-momentum-3-14-12.html. I guess if you're paid to travel around the world telling people not to use the most popular Java framework that you need to come up with reasons. From what I can tell the people screaming the hardest not to use Spring are mostly authors employed by vendors that have a strong interest to lock-in their customers to full Java EE server instead of a framework that lets them (but not requires them!) to run on a Servlet or Java SE container. In your publications list I see authors employed by vendors selling JBoss, Resin, WebSphere, Glassfish and WebLogic Server. There have been lots of people that have a different point of view on this topic. What I really don't understand as why someone promoting the Java ecosystem as their primary job wants to so obviously dissuade users from making up their own minds with an objective analysis of trade-offs, especially when it does not have to be a mutually exclusive choice and Spring is part of the Java community. You know that many other people (in fact the vast majority of Java developers) do not share your view, yet you do not provide a single link to present an alternative perspective. Are Spring advocates not part of the Java community in your view?
Your comparison tables are also Apples and Oranges. You can simply put Tomcat or Jetty in that comparison table and tc Server Standard edition is under 15MB http://repo.vmware.com/pub/rhel5/vfabric/5/x86_64/. If you include tc Server, then you should use the Standard Edition recommended for production at 15MB as the Developer Edition includes Spring Insight, which would require including JRockit and JRockit Mission Control in the Java EE 6 column. I suppose it doesn't help your case to point out that the production version of WebLogic Server 12c has a 1 Gigabyte generic zip installer and that the smaller developer versions are not suitable or supported in production. I think you are also well aware of the fact that you could run Spring apps on embedded Tomcat 7 which is just a few megs. I am simply amazed that you think tc Server is proprietary when it is based on Apache Tomcat, the reference implementation of the Servlet Specification, which is part of Java EE! Why would you want to mislead people like that? You know as well as I do that there are lots of WebLogic Server customers that are stuck using weblogic.ejb... packages in their code from previous versions of the specification. The only thing even close to that might be Tomcat valves, but over 1/2 of all Java applications use Tomcat these days http://blog.newrelic.com/2012/01/10/infographic-oss-java-wins-in-the-cloud-era/, which is free and open source, so it's not locking anyone in.


Take a look at the computer you are using to read this email. Do you have any idea what is in there? Mike Whytsell does.
Back when he was working as a carpenter, the enthusiastic computer hobbyist and technologist had a feeling his tinkering would pay off. Nicole, his wife and partner, who now works with Mike in their cozy Shelton office space, remembers urging him to take time out from "playing with his computers," for the family.
Today, Mike is the computer technician's equivalent to a black belt.
The Whytsell's business, Tech Warriors, offer a variety of services too long to list. Whether tutoring their senior neighbors on how to use the latest version of Windows 7, or repairing and removing viruses from the computers of local non-profit, Mason County Literacy, Mike's hands-on approach earns him referral after referral, although he used to be more of an introvert.
Before the Whytsells enrolled in Enterprise for Equity's Business Development Course, Mike was unemployed, due, in part to a back injury, and they worried about supporting their children, Casandra and Michael Jr. He knew he could be successful in a business but wanted to put all of the pieces of his business together in a plan.
Today, you would be surprised to think that Mike was ever shy, or that the Whytsell's were ever worried about succeeding.
The Whytsells have a philosophy of kindness, which sometimes makes them angry at big computer repair companies, who often overcharge their customers.
"We don't want to rip people off. We want to help people," they both say at once.
Aside from their customer service, and the trust that they engender, the Whytsell's offer peace of mind in a variety of ways – by protecting your computer from viruses, updating your software, even monitoring and updating your business computers from a remote location.
"Enterprise for Equity brought me out of my shell. I was always very shy, but they made me stand up there in front of the crowd at the Business Showcase…I thought: I'm going to change who I am." – Mike Whytsell, business owner and graduate of E4E.


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NEWS&REVIEWS
Are we living 'sustainably' ?
Tim Clarke spoke at the Breakfast Talk at The Royal Hotel, Dockray on Saturday 1st December 2018. Tim has followed international sustainability issues professionally for 25 years.
My presentation traced the history of international attempts to address sustainability issues starting from the notion of our 'precious planet'. It moved from the warning cries of the Club of Room's Limits to Growth in 1972, to the Stockholm Conference the same year, the Brandt North South report in 1980, and the Gro Bruntland 'Our Common Future' document in 1987, where sustainability was defined for the first time:
"Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs."
It then moved to the Earth Summit in Rio in 1992 where I and many others signed up to an Earth Pledge:
"Recognizing that people's actions toward nature and each other are the source of growing damage to the environmental resources needed to meet human needs and ensure survival and development, I PLEDGE to act to the best of my ability to help make the Earth a secure and hospitable home for present and future generations."
Several acronyms emerged at that time, such as 'Think Globally, Act Locally'.
20 years on in the Rio + 20 Summit, nothing much seems to have changed and a new Club of Rome report: Plundering the planet appeared the following year in 2013. The international community had failed.
Increasing interest in climate change and inequalities across the globe led to the Paris Agreement in 2015 and the definition of 17 Sustainable Development Goals (SDGs) in September of the same year, approved unanimously by all the UN's 193 nations.
Today, every state has signed up to achieving the SDGs by 2030, but for most countries there is a long, long way to go. The most recent UN document that plots progress – the SDG Dashboard report published in July 2018 - ranks the UK 14th in terms of achieving the Goals with the Scandinavian countries Sweden, Denmark and Finland a long way ahead. For most African countries, reaching the SDGs seems to be Mission Impossible.
The presentation was followed by a discussion about how individuals can make a difference by, for example, reducing water consumption, only having one car per family, using renewable energy sources, changing their personal eating preferences away from meat. But it was agreed this was a very long haul, and needs political leadership and changes in our education system across the board.
We all expect someone else's lights to go out before ours.
More about Tim: Tim Clarke has for three decades worked in a wide variety of positions for European Institutions, at EU Ambassador level for eight of those years. He has developed a passion for a range of Issues: good governance and democracy-building; community-led development; the fight against injustice and inequality and the dignity of the most vulnerable; women's, girls' and children's rights; environmental conservation; mitigation of the impact of climate change; for food security; for conflict prevention and mitigation; culture and inter-cultural dialogue; and for eco-innovation and eco-development. He currently pursues pro bono work on these issues since his 'retirement'.
The Breakfast Talk, at The Royal Hotel, Dockray, takes place on the first Saturday of each month starting at 8am. A small donation to the nominated charity of the speaker is welcome. The Royal provides a breakfast bite. Future topics for the Breakfast Talk can be found on the Events and Calendar sections of this website. All welcome.


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kathy ireland® Worldwide Partners with HERO Bed, LLC
SALT LAKE CITY, Aug. 26, 2020 /PRNewswire/ — HERO Bed, LLC, which designs, manufactures, and distributes mattresses built in the USA,…
SALT LAKE CITY, Aug. 26, 2020 /PRNewswire/ — HERO Bed, LLC, which designs, manufactures, and distributes mattresses built in the USA, has partnered with kathy ireland® Worldwide. The announcement was made by Pablo Frixione, Founder and CEO of Utah-based HERO Bed, LLC.
«We are so excited to partner with kathy ireland® Worldwide. I've long admired Kathy and her superbly talented team at kathy ireland® Worldwide, and when we created the HERO Bed mattress, I felt it would be a perfect fit because of our teams shared belief in giving back to the less fortunate. We are grateful for the opportunity to partner in providing blissful sleep through high quality products while doing good with a portion of every sale going to nonprofit organizations serving veterans, children, and those struggling with cancer,» says Mr. Frixione, an entrepreneur who has spent over 20 years in the mattress industry.
«We are pleased to welcome Pablo and the HERObed.com team to kiWW,» says Kathy Ireland, Chair, CEO and Chief Designer of kiWW®. «The HERO Bed mattress is a mattress like no other. With HERO you're getting the best hybrid mattress with the latest sleep technology. Its luxury hybrid technology provides the perfect balance of support and sleep comfort. Just as importantly, Pablo and the entire team are indeed HEROS! Why? Because Pablo and the entire team are dedicated to helping people in need. Every purchased mattress helps serve children, the homeless, veterans, and cancer research. We are truly looking forward to working with Pablo and his team and to bringing our customers the best technology in sleep mattresses,» adds Ms. Ireland, who is named one of the 19 most influential women in licensing by License Global magazine and one of the most influential leaders in the furniture industry by Furniture Today.
«HERO Bed is the newest member of an extraordinary network of emerging entrepreneurs who offer extraordinary product. This network began during COVID-19 to bring opportunities during this pandemic which offer business leaders access to the marketing and licensing services of our specific business network designed for their needs,» said Stephen Roseberry, President and Chief Marketing Officer, and Jon Carrasco, Global Creative Director and EVP of kathy ireland® Worldwide in a joint statement
About HERObed.com:
HERObed.com was founded by entrepreneur and long-time mattress industry executive Pablo Frixione. Formed in 2014, the company focuses on designing and manufacturing high quality U.S. made products that can help people get a better night's sleep.
About kathy ireland® Worldwide (kiWW®):
Founded in 1993, kathy ireland® Worldwide (kiWW) celebrates beautiful and powerful lifestyle solutions…. soluciones™. kiWW collections include fashion, fine jewelry, skincare, weddings, home, office, real estate, fintech, and more. kathy ireland® Worldwide is the 25th most powerful brand globally by License! Global Magazine.
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FoxWayne Enterprises Acquisition Corp. Announces Pricing of $50,000,000 Initial Public Offering


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Disposable Everything
Fragments and degeneracy
Rethinking retromania: temporality and creativity in contemporary popular music
Posted byGareth Leaman April 27, 2014 January 27, 2023 Posted inCulture, Juvenilia, Music
Within music criticism and journalism in recent years there has been a growing fixation with what has come to be known as 'retromania', or 'pop culture's addiction to its own past.'[1] The overriding thesis of this critique is that recent technological and cultural circumstances have led to something of a regression in the creative impulses of musicians, leading to a lack of innovative styles and an overreliance on pre-existing forms as the inspiration for 'new works'. This criticism has been particularly championed by Simon Reynolds, who articulates his misgivings about contemporary pop music as follows:
Instead of being about itself, the 2000s has been about every other previous decade happening again all at once: a simultaneity of pop time that abolishes history while nibbling away at the present's own sense of itself as an era with a distinct identity and feel.[2]
This critique would appear to be derived from the struggle for meaningful cultural production under late capitalism and its link to the effect of capital on the compression of time, echoing David Harvey's notion that 'volatility and ephemerality…make it hard to maintain any firm sense of continuity. Past experience gets compressed into some overwhelming present.'[3] Along with this comes the development of technologies that permit and encourage a trend for copious collecting, archiving and memorialising, meaning that, as Reynolds sees it:
We've become victims of our ever-increasing capacity to store, organise, instantly access, and share vast amounts of cultural data. Not only has there never before been a society so obsessed with the cultural artifacts of its immediate past, but there has never before been a society that is able to access the immediate past so easily and so copiously.[4]
It is this thinking that can be seen as the origin of Reynolds' work, but the conclusions he ultimately draws are somewhat misguided. There is certainly some credence to the link between so-called retromania and temporal compression, but Reynolds' mistake is to leave unanalysed the relationship between the past and the present, and the subsequent implications for artistic creativity. As such, while much of the retromania critique is somewhat valid, it still suffers from an inadequate conception of the actual human experience of temporality.
Bound up in this analysis is an overlooking of the way in which music can be seen to interact with the past; namely, there is the tendency in Reynolds' work to criticise 'music made by young musicians who draw heavily on the past, often in a clearly signposted and arty way'[5] without actually acknowledging the role that retromania can play in the present. With this in mind, here we will examine various conceptions of temporality and explore their implications for a more nuanced analysis of the alleged retromanic tendencies of contemporary popular music.
A fundamental way in which the human experience of temporality is ultimately incongruous with the retromania critique of popular music becomes apparent through an analysis of the way time can be seen to 'flow'. Parallels can be drawn between the conception of temporal 'progression' and the way different styles, genres and aesthetic sensibilities develop and change in pop music, as this would seem to be the main way in which many artists are said to exhibit their retromanic tendencies. Key to this is Henri Bergson's conception of time as a continuous progression, as opposed to a series of distinct, separable moments. Experiencing temporality in this way means that:
'we change without ceasing, and that the state itself is nothing but change. This amounts to saying that there is no essential difference between passing from one state to another and persisting in the same state. If the state which 'remains the same' is more varied than we think, on the other hand the passing from one state to another resembles, more than we imagine, a single state being prolonged; the transition is continuous.'[6]
Essentially then this continual flow of time means that the separation of one moment from another is at best artificial and at worst impossible, and thus it is problematic to separate one moment of time as being 'the past', distinct from the present that is continually unfurling before us. As David Couzens Hoy suggests, 'the ordinary conception of time makes the mistake of separating the temporal into separate domains, depending on the status of the Nows, whether they are over, yet to come, or actually occurent.'[7] However, the conception of time as a continuum and not a 'jump' from one moment to the next does not necessarily mean that any notion of the past is dispensed with in favour of an always-occurring present. With this in mind, Bergson suggests that:
'duration is not merely one instant replacing another; if it were, there would never be anything but the present – no prolonging of the past into the actual, no evolution, no concrete duration. Duration is the continuous progress of the past which gnaws into the future and which swells as it advances.'[8]
Thus we can say that the past is always present in 'the now', in the sense that, as Bergson continues, 'it follows us at every instant; all that we have felt, thought and willed from our earliest infancy is there, leaning over the present which is about to join it'[9], meaning that 'even though we have no distinct idea of it, we feel vaguely that our past remains present to us.'[10] We therefore cannot distinguish the past from what we perceive as the present moment, as that which has already happened is effectively still happening, its connection to the present palpable, unbroken and inseparable. Thus if 'our past remains present to us'[11] then there is no looking back to the past in works that have been described as retromanic, as it is not that there isn't 'anything but the present'[12], more that the past exists inside the present.
We can see this manifest, for example, in the music of The Avalanches, whose work is archetypal of the way in which music so dismissively labelled as retromanic instead simply exhibits the true way in which temporality is experienced in contemporary culture. Their 2000 album Since I Left You – itself often referenced by Reynolds in his work – exemplifies a conception of temporality in which, in the words of Paul Ricoeur, 'The words "future," "past," and "present" disappear, and time itself figures as the exploded unity of three temporal extases.'[13] While this record is ostensibly a collage of already-existing sounds (i.e. within the past) and 'denigrated music'[14], it is not reminiscent of music of 'the past' in any way – it cannot be explicitly categorised within any 'old' musical genre, for instance – and yet, due to the manner of its composition (there are thousands of samples comprising the album), the past is inherently bound up within it.
Reynolds, while somewhat complimentary about the resultant aesthetic, is often content to criticise the conditions that permit this form of artistic creativity, suggesting that cultural artefacts such as this are indicative of how 'the presence of the past in our lives has increased immeasurably and insidiously. Old stuff either directly permeates the present, or lurks just beneath the surface of the current, in the form of…windows to other times.'[15] The mistake here is the assumption that the past is being resurrected from its grave, and that it should be separate and unimposing on the present, as if this is a natural law that musicians such as The Avalanches are somehow perverting. However, on the contrary, it is the past that inherently informs the present, as there is no clean break between what is happening and what has already happened. So when the past does manifest in The Avalanches' work it is as a natural and inherent component of the present. There is no 'othering' or fetishising of the past on Since I Left You; it is simply a part of the compositional process of creating a new work.
The way in which the already-existing past contributes to the creative development of The Avalanches is therefore reminiscent of Bergson's assessment of the human will's relation to this onward march of time. Bergson asserts that 'consciousness cannot go through the same state twice. The circumstances may still be the same, but they will act no longer on the same person, since they find him at a new moment of his history.'[16] So then, even when musicians appear to call upon the past to create new a work, they do so in a manner that naturally assimilates it into the present. Music is therefore always 'new', always in the present, and as such the notion that music can be retromanic is something of a fallacy. Music that is labelled retromanic cannot be tied to the past, as its status in the present is more than just simply a repeat of that which has already happened. As Bergson continues:
Our personality, which is being built up each instant with its accumulated experience, changes without ceasing. By changing, it prevents any state, although superficially identical with another, from ever repeating in its very depth. That is why our duration is irreversible. We could not live over again a single moment, for we should have to begin by effacing the memory of all that had followed. Even could we erase this memory from our intellect, we could not from our will.[17]
This image of constant change as the true form of temporality and irreversible duration suggests that it is rather disingenuous to condemn artists for invoking the past when in actual fact this is simply the subjective experience of temporality as manifested in music. The past thus flows through the artist in the present, influences their creative impulses, resulting in something new occurring. This conception of The Avalanches' music therefore exemplifies the notion that it is inherently problematic to call any musical work retromanic. If we are being generous we can say that all music is inherently retromanic in that the past naturally occurs in the present, or we can determine that the need to identify retromania as a distinct categorisation of music is rather unnecessary.
Closely linked to this is the way that musical genres and styles develop, and the effect that temporality has on the conception of when a music can be though of as 'new', and when it is derivative of an already-existing form. In the same way that time is a continual process and it is artificial to isolate a single 'moment', so too can we say that music 'changes without ceasing'[18]. Therefore, while Reynolds claims that the ultimate consequence of retromania is that 'music has been depleted of meaning through derivativeness and indebtedness'[19], we can frame this simply as a pessimistic, even misguided, interpretation of Bergson's notion that 'each [moment] is something new added to what was before.'[20] With this in mind, Bergson's conception of temporality ensures that we can regard musical progress not reductively as retromanic or derivative, but as a continual process of development and change, in recognition that each musical state is a 'moment in a history…an original moment of a no less original history.'[21]
Within particular genres, therefore, we cannot simply categorise music that exhibits a variation on already-existing generic properties as derivative or a poor imitation. Reynolds is fond, for example, of placing dubstep within its wider context, acknowledging the heritage of dance music culture to which it owes its existence, as a way of showing that even the closest thing to a 'new music' in the 21st century is in fact just a retromanic retread of the past. He characterises dubstep as 'tied to the past'[22], 'rave's afterlife'[23] and 'essentially extentions of the ideas and ideals of the previous decade'[24], which belies his apparent belief that a truly original and innovative genre should somehow be able to spontaneously generate itself within a vacuum. It is reductive to be at pains to point out that the past exists inside the present, but separate from it, as if this perceivable linearity is in itself a display of retromania that discredits the work's cultural value to the present. Evidence that a musical work has precedents in the past does not suggest that it cannot be the catalyst for something new. As Bergson states, 'to exist is to change, to change is to mature, to mature is to on creating oneself endlessly.'[25] With this in mind, the suggestion that music that exists in the present is not producing anything 'new' is patently absurd.
From this we can see that the generic properties of any given musical style are never static and have no fixed point of anchorage in time, and so it is false to dismiss a whole genre as retromanic when there is no temporally static origin point. The generic aesthetic properties of any music – given its setting in a continually changing temporality – is never static, and so cannot be thought of as retromanic when there is no one temporally-fixed aesthetic from which it can be said to derive.
With this assuredly applied on a macro level to an entire genre, we can also make similar claims for individual artists. As Ernst Bloch attests to, 'clearly nothing detracts from even the more important artists as badly as inserting or fixing them into some succession of developments in craft, into a history of merely mediating, reinforcing, technical formula.'[26] This claim has a direct implication for a true conception of the way that artists deal with the music of the past, as it suggests that the way individuals subjectively experience temporality is best understood if the music itself is delivered from its relationship to time entirely. As Bloch suggests, 'if a composer can feel so independent of the will of his epoch…then it is surely not the essence of the music…which can be economically and sociologically categorized'[27], and thus neither can essence be tied unremittingly to its temporal context.
This separation of musical essence from temporality is certainly something that the producer Saint Pepsi exploits in his music. Largely based on samples of already-existing music, his 2014 work Gin City contains recognisable sounds from an array of pre-existing songs from 'the past', homogenising them within the work in a way that effectively compresses time to the point where it can no longer be said to be perceivable within the work. The album's title track, for example, contains within it a vocal excerpt from Marvin Gaye's 'Let's Get it On' (recorded in 1973), the infamous and much-sampled so-called 'Yeah! Woo!' break (a sample taken from a song recorded in 1972 and ubiquitous in popular music ever since in a multitude of forms – thus itself exemplifying Bergson's conception of moments in time being 'something new added to what was before'[28]), trap-derived beats (very much a style embedded in the present), and even one of Saint Pepsi's own songs ('Have Faith', released in 2013).
The key to the use of all these previously temporally disparate sources is that they are all exploited for their decontextualised aesthetic value – their temporality is simply not relevant to the creator, who sees them all as part of his own subjective present. We can thus relate this to Bloch's conception of non-simultaneity, particularly the notion that 'Not all people exist in the same Now. They do so only externally, by virtue of the fact that they may all be seen today. But that does not mean they are living at the same time with others.' [29] We can relate this idea to cultural production and artistry in the sense that depending on the 'Nows' that one has experienced, different musics are available from the past to make use of in the present. This would suggest that to some extent contemporary pop music is essentially 'atemporal': it can only exist in the present 'Now', and yet encompasses music from innumerable 'Nows'. Saint Pepsi thus appropriates the essence of pre-existing music in a way that is separate and irrespective of temporality.
This means that the fully realised aesthetic form can be seen to exist outside of temporality. This is something that Bloch would appear to attest to, particularly in his suggestion that in order to fully comprehend an artist's work aesthetically it is important:
'to construct for every truly great composer an individual house where he can live for himself as a particular "state" even beyond his talents. In here he is free, brings in only his own soul. This is self-evidently something different again from what circulates among people, what unites them in mere contemporaneity.'[30]
We can perceive then that with Gin City Saint Pepsi is reclaiming cultural artefacts from the past and reaffirming them into his own temporal experience of the present. This once again confirms the vitality and value of the past's place within the present, and further discredits the notion that such so-called retromanic tendencies preclude an authentic artistic expression of the cultural present.
A key problem with the retromania critique is that it is enchanted by what it identifies as the spirit of modernism, particularly the idea that it was a great fissure in the progression of time and broke off relations with the past, and that all subsequent music should aspire to do likewise if it is to gain cultural value. Thus the positioning of retromania as the antithesis of creating something 'new' would seem to derive from the idea that it is 'backwards looking', seeking to gain inspiration from 'past' forms that it needs to have discarded. However, as has been discussed, the notion that a moment can be born out of nothing, as a break from all that has gone before it in time, is simply not possible. This temporal interpretation of modernism is certainly something that disconcerted Andreas Huyssen, who identifies 'the familiar trope in cultural criticism which suggests that enlightened modernization liberates us from tradition and superstitions, that modernity and the past are inherently antagonistic to each other.'[31] However, as Huyssen points out:
Remembrance shapes our links to the past, and the ways we remember define us in the present. As individuals and societies, we need the past to construct and anchor our identities and to nurture a vision of the future.[32]
Thus even a musical style intent on radical change is still going to be constructed from ideas from the past: the idea that this may not be the case would appear to be a misconception. Reynolds' modernism-in-pop genre of choice is invariably punk (or post-punk); though as we have seen, it would be ridiculous to claim that punk stood in its own present as a dividing line between the past and the future, with all that had come before it being discarded. As Christopher Doll points out, 'A reader of Retromania could easily get the impression that all before-punk music was leading up to punk, and that all after-punk music was a response to it (or at least a departure from it).'[33] This reading of history would be a false one, and such an argument unfortunately looms large over the retromania critique. This 'irrepressible desire to position punk as the reference point for the entirety of popular music history'[34] creates a false impression of how music has previously interacted with its own past.
As such, Reynolds and the retromania critique can be said to be guilty of partaking in, as Huyssen puts it, 'a selective and permanently shifting dialogue between the present and the past'.[35] The consequences of this are twofold: firstly, it does not acknowledge that 'our present will inevitably have an impact on what and how we remember'[36], meaning that Reynolds does not have the self-awareness that he himself is interacting with the past inside the present in order to make use of it for his own means, in this case using the myth of punk's break with the past to criticise its contemporary equivalents for not doing the same. Secondly, it means that critics decry the lack of continual breaks with the past, breaks that are only to be expected due to the retromania critique's very own relationship with the past. In many ways then it is the retromania critique itself that is guilty of retromania, in that its own misunderstanding of the relationship between past and present has led to a longing for a never-existent time in which the past did not influence the present. The consequence of this is that it falsely represents contemporary musicians' relationship to the past, and ultimately misreads what is their authentic expression of their own temporal experience.
Therefore, in order to fully comprehend the true relationship between subjective temporality and musical creativity it is necessary to discard the notion that an unmooring of the present from the past is imperative for the creation of something new. Martin Halliwell and Paul Hegarty touch upon this in their analysis of progressive rock music, suggesting that the genre 'eludes the 'myth of the avant-garde that the world has been reborn for the first time, and instead adopts the properly modernist attitude of referencing its precursors in continued innovation. We, as listeners, readers and critics, see a continuum of avant-gardes as if this was how it happened, because now it has always already happened.'[37] This concept of the 'always already'[38] is crucial for an understanding of the relationship between temporal experience and creativity, as it shows that the past has always been the past if one hasn't experienced it in their own lifetime, and yet it still makes itself known in their present regardless. This means that, paradoxically, to contemporary musicians the 'always already' music of the past is both new and old at the same time. It is a misinterpretation of this paradox and an ignorance of the blurring between when something is old and when it is new – whether it is the 'true' present or the 'past within the present' – that leads to the misidentification of this new creativity as being retromanic. In short, the retromania critique of contemporary music arises from an ability of critics to come to terms with the idea that, as Bloch suggests, 'Once something has been discovered, later periods have no interest in it or empathy for it as a technical problem or a fresh innovation.'[39]
In the music made by Zomby we can see an example of how this blurring between the old and the new causes a false diagnosis of retromania, rather than recognising a subjective experience of temporality manifesting itself musically. His 2008 album Where Were U in '92? in particular has been criticised by Reynolds for 'repeating and reproducing the past, rather than pushing forward into the future,'[40] suggesting that in making music apparently so rooted in some previous time period Zomby has suffered from 'a dissipation of creative energy'[41]. Though decried here as a pastiche of early nineties rave culture, the key to the album is that Zomby was not 'there' in 1992; instead, the characteristics of the music of that year has been always already in existence from his temporal vantage point. For Zomby this is not his past: it is a music that exists in his personal present like any other, and thus cannot accurately be described as retromanic.
The foundation of this is the notion that, to musicians in the present, all music of the past – with its indisputable active presence in the 'Now' – was always already in existence as perceived by them in their subjective experience of temporality. To anybody in the present, therefore, the past has already happened, but is also unavoidable in the 'Now'. It might appear to be retromanic to a third party for whom this music existed in their own living memory, but to the creator this is a music that is part of the present like any other. It would seem then that the concept of 'newness' is tied to each individual's temporal experience: what one person may be able to identify as coming from the past as they have experienced it 'before' in a previous moment has always been part of another individual's present. So while Reynolds laments that 'there has never been a society in human history so obsessed with the cultural artifacts of its own immediate past'[42], we cannot discard the idea that, as Huyssen states, 'the strongly remembered past will always be inscribed in our present, from feeding our unconscious desires to guiding our most conscious actions.'[43]
The existence of the past inside the present is obviously a major catalyst for the music an artist such as Zomby is inspired to create. Thus, in an era in which, as Reynolds himself writes, 'every pop-culture scrap'[44] from the past has the potential to be preserved in the present, the music discussed here is truly music of the 'now', authentically reflective of the way temporality is truly experienced in contemporary culture. While retromania can be said to 'exist' to some extent, it is not as a passive longing or a nostalgia for something that no longer exists. Rather than an obsession with the past in the present, it is an authentic acknowledgement that the past is part of the present. It is music as culturally relevant and reflective of the present 'present' in a way that is as valid as in any other time period.
To illustrate this, the music of Girl Talk – who Reynolds himself seems to place as an antithesis to the cultural function he thinks music should perform – is a complete exhibition of contemporary temporal experience in music. Reynolds saves particular vitriol for the 'mashups' that Girl Talk creates, stating:
Romping across five decades of rock, rap and R&B, [Girl Talk] celebrated the crass, pounding, instant-gratification appeal of pop at its most populist. Mash-ups mash the history of pop like potatoes, into indistinct, digital-data-grey pulp, a blood-sugar blast of empty carbohydrate energy, flava-less and devoid of nutritional value. For all their aura of mischief and cheeky fun, mash-ups exude pathos. This is a barren genre – nothing will come from it. Not even a mash-up. [45]
Once again, in Girl Talk's temporal experience the past was always already compressed together, as the aggregate of all previous musical works manifesting itself in Girl Talk's present, his own personal temporality. There seems to be the suggestion here that this music has no cultural value simply because it is – as far as Reynolds sees it – from the past. However, Reynolds is mistaken as to how musical value is created in Girl Talk's music: in the same way that there is no distinct divide between the past and the present in terms of how they are experienced in the 'now', the previous temporality of the appropriated source material has no relevance in terms of the aesthetic (and cultural) value of, say, Girl Talk's 2008 release Feed the Animals, which contains over 300 samples from already-existing pop songs across its 53-minute duration.
What we see here, then, is an authentic expression of temporal compression manifesting itself musically, reflective of Huyssen's diagnosis that 'both personal and social memory today are affected by an emerging new structure of temporality generated by the quickening pace of material life on the one hand and by the acceleration of media images and information on the other.'[46] The implication then is that in a culture that generates intense memorialisation and temporal compression, combined with the past's natural inhabitation of the present, a musical work that seeks to 'flatten out all the differences and divisions from music history'[47] seems wholly apt and pertinent. If this is indeed the case, then Girl Talk's music merely replicates the cultural conditions in which it finds itself, leaving Reynolds's assertion that contemporary musicians have become 'curators and archivists'[48] rather than 'pioneers and innovators'[49] somewhat redundant.
Ultimately, it would appear that the retromania critique of popular music is based on a misreading of the subjective nature of temporality, and how time is actually experienced. Based on the aforementioned propositions that the past is an inherent element of the temporal experience of the present, it is thus overly simplistic to draw a link between what some would identify as a creative malaise and its relation to time. With this in mind, it is perfectly legitimate to venture that this criticism of retromania is largely irrelevant in comprehending the link between temporality and creativity. Indeed, as Doll suggests, 'some of Reynolds' topics have as much – if not more – to do with intertextuality than with retro'[50], further underlining the notion that temporality is not necessarily pertinent when discussing the creative process of contemporary pop musicians. In the same way that time has been compressed culturally, the perception of subjective time has been accelerated to the point where it is barely perceptible; it is this, not retromania, that manifests itself in popular culture. Thus it would appear that the idea that musicians are retromanic due to a cultural-creative inertia is wholly false, and that it is this inertia itself that is the driving force of creativity.
Avalanches, The, Since I Left You (XL Recordings, XLCD138, 2011).
Bergson, Henri, 'From Creative Evolution' in Modernism: An Anthology of Sources and Documents, ed. by Vassiliki Kolocotroni, Jane Goldman, and Olga Taxidou (Edinburgh: Edinburgh University Press, 1998), pp. 68-71.
Bloch, Ernst, 'Nonsychronism and the Obligation to Its Dialectics', New German Critique, 11 (1977), 22-38 (p. 22).Bloch, Ernst, The Spirit of Utopia, trans. by Anthony A. Nassar (Stanford: Stanford University Press, 2000).
Collins, Lyn, Think (About It) (People Records, PE5602, 1972).
Doll, Christopher, 'Retromania: Pop Culture's Addiction to Its Own Past by Simon Reynolds', Notes, 68 (2012), 763-765.
Gaye, Marvin, What's Going On (Tamla, TS310, 1971).
Hegarty, Paul and Martin Halliwell, Beyond and Before: Progressive Rock Since the 1960s (London: Continuum, 2011).
Hoy, David Couzens, The Time of Our Lives: A Critical History of Temporality (Cambridge, Massachusetts: MIT Press, 2012).
Girl Talk, Feed The Animals (Illegal Art, 2008).
Harvey, David, The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change (Oxford: Blackwell, 1990).
Huyssen, Andreas, Twilight Memories: Marking Time in a Culture of Amnesia (London: Routledge, 1995).
Reynolds, Simon, Energy Flash: A Journey Through Rave Music and Dance Culture, rev. edn (London: Faber and Faber, 2013).
Reynolds, Simon, Retromania: Pop Culture's Addiction to its Own Past (London: Faber and Faber, 2011).
Ricoeur, Paul, 'Time and Narrative: Threefold Mimesis' in Time and Narrative, Volume 1, trans. by Kathleen McLaughlin and David Pellauer (Chicago: The University of Chicago Press, 1984), pp. 52-90.
Saint Pepsi, Hit Vibes (Keats Collective, 2013).
Saint Pepsi, Gin City (Self-released, 2014).
Zomby, Where Were U In '92? (Werk Discs, WERK CD006, 2008).
[1] Simon Reynolds, Retromania: Pop Culture's Addiction to its Own Past (London: Faber and Faber, 2011).
[2] Reynolds, Retromania, p. x.
[3] David Harvey, The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change (Oxford: Blackwell, 1990), p. 291.
[4] Reynolds, Retromania, p. xxi.
[5] Reynolds, Retromania, p. xiii.
[6] Henri Bergson, 'From Creative Evolution' in Modernism: An Anthology of Sources and Documents, ed. by Vassiliki Kolocotroni, Jane Goldman, and Olga Taxidou (Edinburgh: Edinburgh University Press, 1998), pp. 68-71, p.69.
[7] David Couzens Hoy, The Time of Our Lives: A Critical History of Temporality (Cambridge, Massachusetts: MIT Press, 2012), p. 60.
[8] Bergson, 'From Creative Evolution', p. 70.
[10] Bergson, 'From Creative Evolution', p. 70.
[13] Paul Ricoeur, 'Time and Narrative: Threefold Mimesis' in Time and Narrative, Volume 1, trans. by Kathleen McLaughlin and David Pellauer (Chicago: The University of Chicago Press, 1984), pp. 52-90, p. 61.
[14] Reynolds, Retromania, p. 358.
[15] Reynolds, Retromania, p. 57.
[17] Bergson, 'From Creative Evolution', p. 70-71.
[19] Reynolds, Retromania, p. 419-420.
[22] Simon Reynolds, Energy Flash: A Journey Through Rave Music and Dance Culture, rev. edn (London: Faber and Faber, 2013), p. 645.
[23] Reynolds, Energy Flash, p. 645.
[26] Ernst Bloch, The Spirit of Utopia, trans. by Anthony A. Nassar (Stanford: Stanford University Press, 2000), p. 38.
[27] Bloch, The Spirit of Utopia, p. 41.
[29] Ernst Bloch, 'Nonsychronism and the Obligation to Its Dialectics', New German Critique, 11 (1977), 22-38 (p. 22).
[31] Andreas Huyssen, Twilight Memories: Marking Time in a Culture of Amnesia
(London: Routledge, 1995), p. 253.
[32] Huyssen, Twilight Memories, p. 249.
[33] Christopher Doll, 'Retromania: Pop Culture's Addiction to Its Own Past by Simon Reynolds', Notes, 68 (2012), 763-765 (p. 764).
[34] Doll, 'Retromania: Pop Culture's Addiction to Its Own Past by Simon Reynolds', p.765
[37] Paul Hegarty and Martin Halliwell, Beyond and Before: Progressive Rock Since the 1960s (London: Continuum, 2011), p. 12.
[38] Hegarty and Halliwell, Beyond and Before, p. 12.
[40] Reynolds, Energy Flash: A Journey Through Rave Music and Dance Culture, p. 707
[41] Reynolds, Energy Flash, p. 708
[42] Reynolds, Retromania, p. xiii.
[48] Reynolds, Retromania, p. xx.
[50] Doll, 'Retromania: Pop Culture's Addiction to Its Own Past by Simon Reynolds', p.765.
Commodification and popular culture
Assemblage in contemporary British poetry
Disposable Everything, Create a website or blog at WordPress.com


By Nathalie Moulin. Storage Cabinet. Published at Tuesday, March 19th, 2019 03:07:30 AM.
By Ratna Lestari Tedja. Storage Cabinet. Published at Tuesday, March 19th, 2019 02:53:22 AM.
By Pierrette Vallee. Storage Cabinet. Published at Tuesday, March 19th, 2019 03:08:20 AM.


ABOUT 160 players took part in the annual fundraising "Wheelchair Classic" at Helsby Golf Club – raising a fantastic total of around £16,000.
The day consisted of a golf competition, a meal and then the highlight – the presentation of wheelchairs to deserving youngsters.
Finally a raffle and charity auction took place and a total of around £16,000 was raised on the day!
The youngsters were joined on the night by their parents, family and friends.
It had been intended to present two further wheelchairs to Leo Bailey Heath aged 7 from Werrington, Stoke on Trent and Ariella Burn aged 14 from Bebington, Wirral, but unfortunately Leo and Ariella were ill and unable to attend.
Golfing honours on the day for the men were Messrs Pearson and Dougal and for the women, mother and daughter duo, Anne and Karen O'Neil.
Organisers of the Powered Wheelchair Appeal would like to thank the main event sponsor Jigsaw Law and the Ellesmere Port Lions for their hole sponsorship.
Pictured: The presentation party including the youngsters and their families, Powered Wheelchair chairman Steve Cunniffe, club president Jim Potter, captain Neil Johnson and lady captain Gill Smith.


ONE NIGHT IN HELL – Co-written and co-directed by Unanico Studios Co-Founder and Creative Director Jason Jameson, One Night In Hell is a devilishly spectacular stereoscopic 3D CGI animated short film that tells the story of one skeleton's journey into Hell.
One Night In Hell is a co-production between Unanico Studios, London Stereoscopic Company and visionary rock musician Brian May.
The IP is an adaptation of the book 'Diableries: Stereoscopic Adventures in Hell' that was produced by Brian May, Denis Pellerin and Paula Fleming as a homage to the original 'Diableries' stereo cards, a 3D stereoscopic phenomenon, which started in Paris, in the 1860s. These cards have fascinated devotees for over 150 years and inspired the earliest film-makers, such as George Méliés.
The short film One Night In Hell is 6.66 mins long and features exclusive original music from Brian May and the Czech National Symphony Orchestra.
One Night In Hell was one of the biggest launches at Universal's Halloween Horror Nights 2015, and has been showcased at over 20 festivals worldwide, winning numerous awards, including the First-Place Award at LA 3D Movie Festival 2015, and on its digital release in 2015 the short film became the top selling film on iTunes.
The short film, the original soundtrack and the AR app can be downloaded globally from the Apple Store, Google Play and Vimeo Deluxe.


When they take their children in to see a health professional, and immediately they are put on antibiotics as a precaution, most parents are thankful. However, the overuse of antibiotics is producing bacterial resistance, making some infections harder to treat. Bacteria is an ever-evolving organism, constantly mutating to survive in a changing world, so when antibiotics are used unnecessarily, the risk of bacterial resistance is higher.
Bacterial resistance is a worldwide problem and it affects everyone. If this practice continues, bacteria will become more potent, and infections will be harder and harder to treat. There are already some strep bacteria that are extremely difficult to treat.
Early on, before much medical research had been done on this issue, it was not uncommon for doctors to prescribe antibiotics to patients for most any illness. It was not until bacterial resistance had already gotten a foothold that anyone realized the more dangerous side of haphazardly doling out medicine. Nowadays, many physicians are aware of this danger, but there are still many who are either ignorant or are stubbornly prescribing unnecessarily.
It is important to note that a lot of doctors face unnecessary pressure as well when it comes to prescribing medicine. That is where parents fall in. When children become ill, it is usually the parent who seeks medical attention for their child. Some parents then take this one step further, demanding antibiotics, since they would certainly like to see their child feeling better. It is good for a parent to be aware of his or her child's problem, but they should also realize that expert opinion has some value. A good healthcare provider will consider all of the information a parent shares with them regarding their child's health before making a diagnosis. If a parent feels that is not the case, they should seek a second opinion.


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Naomi Shihab Nye was born on March 12, 1952, in St. Louis, Missouri, to a Palestinian father and an American mother. During her high school years, she lived in Ramallah in Palestine, the Old City in Jerusalem, and San Antonio, Texas, where she later received her BA in English and world religions from Trinity University. Nye is the author of numerous books of poems, most recently Cast Away: Poems for Our Time (Greenwillow Books, 2020). Her other books of poetry include The Tiny Journalist (BOA Editions, 2019); You and Yours (BOA Editions, 2005), which received the Isabella Gardner Poetry Award; and 19 Varieties of Gazelle: Poems of the Middle East (Greenwillow Books, 2002), a collection of new and selected poems about the Middle East. She is also the author of several books of poetry and fiction for children, including Habibi (Simon Pulse, 1997), for which she received the Jane Addams Children's Book award in 1998. Nye's honors include awards from the International Poetry Forum and the Texas Institute of Letters, the Carity Randall Prize, the National Book Critics Circle Lifetime Achievement Award, and four Pushcart Prizes. She has been a Lannan Fellow, a Guggenheim Fellow, and a Witter Bynner Fellow. In 1988, she received the Academy of American Poets' Lavan Award, judged by W. S. Merwin. She served as a Chancellor of the Academy of American Poets from 2010 to 2015, and is the Poetry Foundation's Young People's Poet Laureate from 2019-2021. She currently lives in San Antonio, Texas. Source
Excerpt from "Every day as a wide field, every page"
And there were so many more poems to read!
Countless friends to listen to.
We didn't have to be in the same room—
the great modern magic.
Everywhere together now.
Even scared together now
from all points of the globe
which lessened it somehow.
Hopeful together too, exchanging
winks in the dark, the little lights blinking.
When your hope shrinks
you might feel the hope of
someone far away lifting you up.
Hope is the thing ...
Hope was always the thing!
What else did we give each other
from such distances?
Breath of syllables,
sing to me from your balcony
please! Befriend me
in the deep space.
When you paused for a poem
it could reshape the day
you had just been living.
visually descriptive or figurative language, especially in a literary work


text:
Anna Zaporozhanova (née le ) est une joueuse de tennis ukrainienne, professionnelle du milieu des années 1990 à 2004.

Elle n'a gagné aucun titre WTA.

Palmarès

Titre en simple dames
Aucun

Finale en simple dames
Aucune

Titre en double dames
Aucun

Finales en double dames

Parcours en Grand Chelem

En simple
N'a jamais participé à un tableau final.

En double dames

Sous le résultat, la partenaire ; à droite, l'ultime équipe adverse.

En double mixte
N'a jamais participé à un tableau final.

Parcours aux Jeux olympiques

En double dames

Classements WTA

Classements en simple en fin de saison

Source :

Classements en double en fin de saison

Source :

Notes et références

Voir aussi

Liens externes

Naissance en août 1979
Joueuse ukrainienne de tennis
Joueuse de tennis aux Jeux olympiques d'été de 2000

redpajama_set_name: RedPajamaWikipedia


Whether you want to travel, communicate with friends or colleagues, reconnect with family, or just understand more of what's going on in the world around you, learning English will expand your horizons and immeasurably enrich your life.
In the final 10 lessons, you'll be speaking and understanding at an intermediate level. In this phase, more directions are given in the English language, which moves your learning to a whole new plane. Lessons include shopping, visiting friends, going to a restaurant, plans for the evening, car trips, and talking about family. You'll be able to speak comfortably about things that happened in the past and make plans for the future.
Reading instruction is included after Lesson 30 to provide you with an introduction to reading English. These lessons, which total about one hour, are designed to teach you to sound out words with English pronunciation and accent. A Reading Booklet to be used with the audio lessons is also included in PDF format.
Approximately 375 million people speak English around the world and there are more than 50 countries where English is the primary language spoken, including in Australia, Canada, the Commonwealth Caribbean, Ireland, New Zealand, the United Kingdom, and the United States. This course teaches Standard American English as spoken in the US. Instruction is in Arabic.


Flyboard Cancun & Riviera Maya!
Soar 33 feet above the lagoon with our Personal Watercraft. Easy to use and safe for beginners.
Minimum age 18 years. For flyers 16 or 17 years old, a parent or guardian must sign a waiver.
Flyer Height range: 5 feet 0 to 6 feet 6 inches tall. Maximum Waist: 46 inches.
Refunds will only be given if inclement weather and you must go to the check in to recieve your refund at time of tour.
You must be a good swimmer and comfortable with your head underwater. You should not have a fear of heights.
Pack for this tour: Swimsuit, towel, t-shirt or jacket. We offer wetsuits & water shoes to rent or you can bring your own.
You do not have to be strong to fly, but balance helps! It only takes a few minutes to learn how to fly.
Not recommended for pregnant women, persons with any cardiac condition or recent major surgeries.


RGC PWC Lifts are available in 1000 lb. capacity single and double cantilever models, as well as 1200 lb. cantilever, 1250 lb. manual vertical and 1,750 and 2,000 lb. hydraulic models. Double lifts are designed for the sides to operate independently of one another.
Lift frames are constructed of durable marine grade aluminum.
Polymer sheaves, PVC bearings, and stainless steel hardware and cables are standard equipment.
30″ hand wheel and winch can be mounted on either side of the cantilever style lifts for your convenience.
Assembly is easy with basic hand tools.
For information on the VL1750 PWC Lift view the VL Data Sheet under the Vertical Lift heading.
For information on the HL1750 and 2000 lb PWC Lift view the HL Data Sheet under the Hydraulic Lift heading.
Single PL1000 lifts can be converted to double lifts with simple conversion kits.
15-year limited warranty on aluminum structure.


text:
New Music – Slipped Off Silk 'Turquoise & Yellow'
Slipped Off Silk is the solo-project of Northville, MI-based singer-songwriter Jonathan Martin. The latest release 'Turquoise & Yellow' is the second single under the new project and really highlights some of the serious songwriting skills Martin possesses.
There is a certain laid back feeling on the new track, and in places, it holds that Weezer-ish laziness. This sound is also evident in the deep, slow groove that runs underneath the surface of the single, that really drives the song forward but totally at its own pace. Everything about this track feels like the output of a seasoned band, so it is a bit of a surprise that 'Turquoise & Yellow' is just the second single and probably signals that there is plenty more to come from this artist.


To encourage Idaho's high school students to attend post-secondary schools in Idaho, enter a post-secondary field of study and take rigorous courses while in high school. The bill requires a matching postsecondary scholarship.
Authorizes the Secretary of State to develop and implement an on-line voter registration application. In order to register on-line, a person would be required to have an Idaho driver's license or ID card. A digital copy of the signature from the State driver's license would be provided by the Department of Transportation and become a part of the voter registration data-base.
Provides the Fish and Game Commission the authority to prescribe and administer a trapping education program, adding to the existing authorization for hunter education and archery education programs.
Implements the Right to Try Act regarding investigational drugs, biological products and devices for patients with terminal illnesses.
Delegates limited authority to foster parents to provide enrollment consent for foster child activities which schools and others may require, and for which foster parents may be reluctant to give without liability protection. The legislation does not change the status or rights of a biological parent or guardian, or the Idaho Department of Health and Welfare in their role as the legal custodian or guardian of a child.
To clarify that Health and Welfare's Mission includes services for the prevention of suicide.
To allow surviving spouses of American armed forces veterans to continue to display a veteran's license plate.


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Last lukewarm day
By Paul Douglas | 05/07/2009
Using new 3-D visualization software it's now possible to peer inside a severe thunderstorm. This next-generation Doppler radar software shows the outline of the storm; the red "hail core" shows up vividly, with evidence of strong winds immediately above the ground, causing the updraft to "sheer" or bend over at an angle. This new meteorological tool even shows strong areas of rotation in the mid levels of a "supercell" thunderstorm, usually a precursor to a tornado. Just as a doctor runs a Cat Scan and other tests before making a diagnosis, meteorologists use this 3-D weather Cat Scan to determine which thunderstorm (out of 30-60 on a given afternoon) may have the tell-tale signature of a spinning, potentially dangerous storm, called a "mesocyclone" or "supercell". Most common in tornado alley, from Texas to Iowa, these rotating storms are quite rare in Minnesota — it's estimated that 20-30% of these spinning storms go on to produce tornadoes.
This is the severe storm that formed over Benton County, near St. Cloud — the NWS issued a severe storm warning for 1″+ (nickel-size) hail. Remember that, on rare occasions, a tornado can develop, even during a generic severe thunderstorm warning. Don't wait for the sirens to sound to seek shelter. If skies turn green and menacing, and the cloud base begins to lower and rotate slowly, head for the basement, or a small, interior room. Large hail (ping pong ball size or larger) is a strong tip-off that a storm has an intense and potentially violent updraft. That's all a tornado is, a severe updraft with a focused circulation that reaches the ground.
Courtesy of WeatherNation
Thunderstorms get a bad rap, and yes, we're to blame. Sure, they produce crop-flattening hail, terrifying zaps of deadly lightning, and every once in a great while a large, mutant thunderhead spins up nature's deadliest wind: the tornado. But I have to come clean and tell you something you need to hear: if it wasn't for thunderstorms Minnesota would have a climate similar to New Mexico from April through October. Precious little would grow here! There would be no large-scale farming to speak of, no agriculture to support our farming community. We'd probably be rationing water, like Phoenix or Las Vegas. Brushfires would be a daily occurrence. Water would evaporate from area lakes, only catfish would be caught in the remaining slime and goop. It would not be pretty. Only 1 in 10 thunderstorms will ever go on to be "severe" with dangerous winds or damaging hail — the vast majority are fairly benign and non-controversial, providing precious rains half the year.
I know, we're to blame: we always talk about a "threat of storms", a "risk of heavy rain", and we tend to complain when it rains on our precious weekends, not realizing how bare the store shelves would be if we didn't experience those occasional fits of rain, lightning and thunder. So for once I'm going to give the average, garden-variety thunderstorm its due: thank you for popping up in the skies over Minnesota, keeping our lawns green, our fields lush and prosperous, our lakes overflowing with water. I'll TRY to include the verbiage "opportunity for a thunderstorm" somewhere down the road. Probably not on a Saturday, mind you. I'm not THAT crazy!
Yesterday's squall line of intense thunderstorms has long since fizzled and fallen apart over Wisconsin, but not before pelting Benton county (just east of St. Cloud) with large hail and some .50″+ downpours. The line of storms weakened as it moved into the metro area, producing downpours and wind gusts close to 40 mph. Today should be quieter, drier with less afternoon drama. The most humid, unstable air has shifted east, a stiff west wind should insure sunshine most of the day, the last time we'll hit 70 for a few days, at least.
Another weak storm streaks in Friday, spreading showers back into town Friday afternoon, a few hours of rain. Puddles may spill over into Saturday morning (early) and odds are you'll get off to a damp start for your fishing adventure. Pack a jacket, sunrise temperatures range from the upper 30s to the low 40s up north. That's the AIR temperature, not the water temperature. The sun may be out (a little) in the morning, but you'll notice lot's of clouds, a stiff northwest wind, and a slight risk of a shower or two up north, especially after lunch. We've seen worse, and we've seen better. On a scale from A to F, Saturday's weather scores a C-. Keep in mind I'm an optimist.
Sunday should be nicer as the axis of high pressure drifts over Minnesota, turning down the wind speed and warming us up another 5-7 degrees under a sunny sky most of the day. I realize it can be "too nice" and sunny to catch fish, so even thought it will be uncomfortable on Saturday, the low clouds and walleye chop could make for better conditions to catch that trophy northern or walleye. A rising barometer has me a bit concerned — The Lindner Brothers up in Brainerd have told me repeatedly that a falling barometer is idea for catching fish. Before a tornado once the fish literally jumped into the fishing boat! So no, conditions won't be ideal, but look at the bright side: it won't snow, no ice pellets, no horizontal sheets of blinding rain this year. And if the weather wasn't a little uncomfortable, if you didn't have SOMETHING to complain about, admit it, it just wouldn't be nearly as much fun, right?
• 72 degree high in the Twin Cities Wednesday before the storms mushroomed almost directly overhead.
• Thunderstorms weaken as they move into the metro area Wednesday, nothing severe reported, just some wind gusts to 35 mph.
• Today: last mild day in sight for some time, probably dry and thunder-free.
• Friday: growing chance of PM showers, wet start to the weekend.
• Saturday: Cooler, still breeze (take a hefty jacket), lot's of clouds, a few spotty showers far northern MN, especially PM hours.
• Sunday: better chance of spying the sun, 50s north, low 60s far southern lakes.
Fishing Opener Update: Soggy start, early showers, especially Wisconsin lakes. Mostly cloudy, windy and cooler, temperatures hold in the 40s northern Lakes (Leech) only reaching 50-53 for Gull, Pelican and the Whitefish Chain possibly upper 50s for White Bear Lake and Minnetonka. Jackets will be required….clouds dominate with a few light showers/sprinkles, especially far northern Minnesota. It may look and feel more like mid October than early May. Sunday will be sunnier, milder, with less wind. A rising barometer both days may damped fish activity, but give it your best shot anyway!
Climate change is affecting crop yields and reducing global food supplies
St. Paul joins Minnesota cities planning for action on climate change
Amid a million coming extinctions, some reasons for hope: A Q&A with the U of M's Kate Brauman
Earth Journal
New outlook on global warming: Best prepare for social collapse, and soon


The SGD 70-A DK+ is the development kit for the 7" PanelPilotACE display, SGD 70-A. The kit includes a development board, an SGD 70-A PanelPilotACE display, a USB cable and a power supply.
The development board itself allows users to quickly connect to and test all of the input and output functionality of the PanelPilotACE display and includes: LEDs and switches for digital I/O's, four potentiometers to generate analogue inputs, variable brightness LEDs for PWM outputs and a prototyping area for testing circuitry. Connections are also available for the display's RS232, RS485, SPI and I²C functionality.
Need a little guidance? Check out our PanelPilot Information Page for product breakdown, set-up and support. Or contact us directly.
Why not download PanelPilotACE Design Studio for free using the button below to build an application, emulate it and explore the possibilities before even buying your hardware.


text:
Q: Multiple modal views prevents background from dimming/disabling with UIModalPresentationPageSheet So when you present a modal view with UIModalPresentationPageSheet presentation style on iPad, the view behind the modal view will get dimmed and will be disabled.  However, if you have a modal view present on top of another (full page) modal view, it seems that the dimming/disabling does not happen.  Anyone know of a way around this?  Thanks

A: I think this all depends which controller is being used to present the modal view controller. I've found that when using UISplitViewController, presenting a modal view controller from anything the but the split view controller itself doesn't apply the dimming. I'd be interested to see more code replicating what you're describing.