text:
Q: Why is $a^{-1} \cdot a \equiv 1 \text{ mod } m$ a lemma in universal hashing? I have been given the following lemma in a online lecture on universal hashing:
Lemma: Let m be a prime. For any $a \in \{ 1, \dots, m-1 \} $ there exists a unique inverse $a^{-1}$ such that
$a^{-1} \cdot a \equiv 1 \text{ mod } m$
($\mathbb{Z}_{m}$ is a field)
Example. m = 7

a
1
2
3
4
5
6

$a^{-1}$
1
4
5
2
3
6

So to understand this question, I have found out that the $a^{-1}$ is actually what we call the Modular Multiplicative Inverse. So i went to some online calculator of that and inserted for example 2 and 7 as modulu. But what i don't understand is, if we replace the modular muliplicative inverse in this equation we get for example:
$$ 4 * 2 \equiv 1 \text{ mod } 7$$
$$ 5 * 3 \equiv 1 \text{ mod } 7$$
$$ 6 * 6 \equiv 1 \text{ mod } 7$$
Which is not true. The only way this is true is that
$$
(4 * 2) \text{ mod } 7 \equiv 1 \text{ mod } 7
$$
But I am not sure if that's what they mean and why they wouldn't write that out?

A: When we write $4 \cdot 2 \equiv 1 \mod 7$ the $\mod 7$ (usually placed in parentheses) is telling us what equivalence is used.  The statement is true as written because $4 \cdot 2$ and $1$ belong to the same equivalence class $\mod 7$
If I start by saying I am working in the field $\Bbb {Z/7Z}$ it becomes correct to write $4 \cdot 2 = 1$

redpajama_set_name: RedPajamaStackExchange


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In July 2008, VirtualTourist was acquired by TripAdvisor. From then until 2013 (when I decided to take a "sabbatical", have a kid, climb some mountains, and do some more traveling) I was a General Manager at TripAdvisor running VirtualTourist and briefly, Holiday Watchdog. During my time there, I had the privilege of working for Steve Kaufer who is one of the smartest most demanding people I've ever been involved with. It was great and challenging to push so hard for success and to learn first hand from one of the internet's most successful entrepreneurs. It was also a pleasure being part of the TripAdvisor Media Group (TAMG) because for much of the history of VirtualTourist we were on our own. Joining forces with TAMG, we suddenly had access to hundreds and then thousands of smart people who were working on many of the same problems we were tackling. I can say without hesitation that it's one of the sharpest, best run organizations I've seen and I am glad to have taken part in it.
During my time at VirtualTourist, we were named "A Site That Changed Our World", by one of the UK's most respected papers, The Guardian. We were featured in Time, Newsweek, The Times of London, Travel and Leisure, to name just a few sources and won many industry awards including Magellan's Gold Medal and the W3 awards. In 2013, we were nominated for PR Week Global Campaign of the Year.


text:
Q: Cant access to java.util.HashMap$Entry with modifiers "public final" My problem is, that my app works fine run locally on Tomcat server, but throws errors on server with installed glassfish.
Whole problem is that i'm iterate looking through HashMap in JSTL.
Server throws an stack as below:
Servlet.service() for servlet jsp threw exception java.lang.IllegalAccessException:
Class javax.el.BeanELResolver can not access a member of class java.util.HashMap$Entry with modifiers "public final"
at sun.reflect.Reflection.ensureMemberAccess(Reflection.java:95)
at java.lang.reflect.AccessibleObject.slowCheckMemberAccess(AccessibleObject.java:261)
at java.lang.reflect.AccessibleObject.checkAccess(AccessibleObject.java:253)

problem is caused by code:
<c:forEach items="${element.getPreparedParameters()}" var="parametr" varStatus="j">
    documents["${i.index}"]["param"]=new Array();
    documents["${i.index}"]["param"]["key"] = "${parametr.getKey()}";
    documents["${i.index}"]["param"]["value"] = "${parametr.getValue()}";
</c:forEach>

Where element.getPreparedParameters() returns HashMap.
How can i make it work?

A: Check out this decades-old bug reported to Sun against Java 1.2 (fixed in Java 11). I remember seeing this error before and the message is misleading: the problem lies not with the method modifiers, but with the modifiers on the owning class. Namely, Map.Entry is a public interface, but the implementing class in HashMap is private. Reflection doesn't allow you to access the methods of the class even though you are accessing methods that implement a public interface.
I'd suggest going for a cheap workaround: don't iterate over the entrySet, but over the keySet and use map.get(key) instead of entry.getValue().
Alternative would be updating to Java 11 or newer.


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text:
Circa rehearsing En Masse
All photos by Rachel Papo
How Circa Contemporary Circus Pulls Off the "Impossible" Onstage
Haley Hilton
Watching Circa Contemporary Circus is a nail-biting experience. The acrobats climb the limbs of their fellow cast members, fly through the air without wires or ropes, and create human architecture that leaves audience members' mouths agape. The venues they perform in—from Jacob's Pillow in Massachusetts to the Barbican in London—grow abuzz with anxious energy. It's impossible not to wonder, "How do they pull it off?"
How they create the work
The Australian company's process begins with a series of improvisational provocations given by artistic director Yaron Lifschitz. "He often comes to us with an image, and divides us into groups to create it with our bodies," says ensemble member Caroline Baillon.
Her colleague Marty Evans adds that this improvisational element is crucial to the ethos of the company. "It's important that everyone moves the way that they move," he says. "Otherwise, it won't work. The show comes from the natural tendencies of our bodies, supervised and stimulated by Yaron."
This strategy stems, in part, from the specific acrobatic skills of the artists. "Often the structures we develop are tricks we are already capable of," Evans says. "We find a way to make them fit in the world we are creating." With such a collaborative process, Lifschitz says he does not consider himself a choreographer.
What it takes to do the impossible
In one tower balance called "The Batman" (a crowd favorite), Evans stands on the ground as the base. On top of his shoulders stand the feet of a man referred to as "the middle," as well as two female flyers on either side, balancing in handstands also on his shoulders (yes, you read that right). The middle holds on to the upside-down flyers' legs while they arch into double attitudes, making an image that loosely resembles the Bat-Signal.
"I've learned to build connections between a base and a middle so the feet sit comfortably on my shoulders without any wobble at the joint," Evans says. "Everyone's feet are different, so the way I move changes depending on who is on top of me, and the things they need to balance."
Baillon's experience as a flyer reflects the other end of that exchange: "If I'm out of balance, I need to push on my base, and use pressure to communicate where I need them to move me."
The role of fear
All of Circa's work is done without wires or harnesses, meaning the danger is very real. For Baillon, whose circus training began at 7 years old, fear is a challenging but necessary component. "It stops me from doing things that could potentially injure me," she says. "But at other times it can be a block that needs to be managed."
In the end, her sense of security comes down to trust. "The more I work on something, the less scared I feel because I learn to trust my body," she says. "The closer I get to my base, and the more trust I build with them, the safer I feel."
For Evans, it's a bit more complicated. "I won't do something that I'm afraid of," he says. "A flyer may be able to do a skill they are scared of because they trust their base, but I can't do that because I'm not the one in danger. I'm the base they are trusting."
To get to a place where the artists can feel confident that they are safe, they spend months training and working through progressions for each trick. If that confidence doesn't eventually come, the artists are always free to communicate their physical limits with Lifschitz.
"Every human should have the right to go to work and be looked after," says Lifschitz. "They will take risks, but there will always be comparative safety. There is a strong shared culture here where we never ask people to do things they are uncomfortable with."
How they avoid injury
Even while managing these dangers, injury is obviously still a possibility. To avoid it, the ensemble has a standard three-hour call before each performance. The first hour is an individualized warm-up in which the artists work through the specific needs of their own bodies. Then, during the second and third hours, they run through group and partner skills to make sure they are solid before doing a group improvisation with the music that will be used in the show.
"The big injuries come from a lack of control, but other injuries come from overuse and incorrect use," says Baillon. "The preshow warm-up with TheraBands and individual exercises help avoid that."
Advice for dancers who want to be acrobats
For artists looking to reroute their dancing careers to something more acrobatic, Baillon has three words: "Don't restrain yourself," then adds, "What you have from your dance experience can bring something amazing to circus."
OPUS by Circa - YouTube ›
Humans by Circa (trailer) on Vimeo ›
CIRCA | circus that moves the heart, mind and soul ›
performance strategies injury prevention stage fright circus circa contemporary circus

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Transition hamburger / menu icon into cross /close icon using only CSS I am trying to use a hack to change the "ham menu" icon to "close" icon on click using pure CSS only. Please check the code:

.ham
{
 height: 30px;
 padding: 15px 20px;
}
.dsp-none
{
  display:none;
}
.cross
{
  display:none;
  height: 30px;
 padding: 15px 20px;
}
.ham-icon:checked .cross
{
 display: block;
}
<input id="click" type="checkbox" name="menu" class="ham-icon dsp-none"/><svg version="1.1" id="Layer_1" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" x="0px" y="0px" viewBox="0 0 64 64" enable-background="new 0 0 64 64" xml:space="preserve" class="ham tr-fl"><rect x="12" y="20" width="40" height="2"/><rect x="12" y="32" width="40" height="2"/><rect x="12" y="44" width="40" height="2"/></svg>
            <svg version="1.1" id="Capa_1" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" x="0px" y="0px"
             width="611.979px" height="611.979px" viewBox="0 0 611.979 611.979" class="cross"><g><path d="M356.781,305.982L601.453,61.311c14.033-14.033,14.033-36.771,0-50.774c-14.004-14.033-36.741-14.033-50.774,0
              L306.007,255.208L61.277,10.536c-14.004-14.033-36.771-14.033-50.774,0c-14.004,14.004-14.004,36.742,0,50.774l244.701,244.672
              L10.503,550.684c-14.004,14.004-14.004,36.771,0,50.774c7.016,7.017,16.216,10.51,25.387,10.51c9.2,0,18.371-3.493,25.387-10.51
              l244.701-244.701l244.671,244.701c7.017,7.017,16.217,10.51,25.388,10.51c9.199,0,18.399-3.493,25.387-10.51
              c14.033-14.033,14.033-36.771,0-50.774L356.781,305.982z"/></g></svg>

I am not able to get the desired result.
On click, it should change to cross icon. No animation or transitions to use. Can anyone suggest a way around this?

A: Not sure why you are using an SVG for that, you can do it just with a bit of HTML and some CSS.
There's a comment in the example's CSS:
/* Try different values here: .25rem, .5rem, .2rem, 5rem, 10rem... */
transform-origin: 5rem center;

I personally like how the effect looks with 5rem, but you might prefer something between .25rem to 2rem.
Here's the code:

const button = document.getElementById('button');
const icon =  document.getElementById('icon');

button.onclick = () => icon.classList.toggle('close');
#button {
  position: relative;
  width: 4rem;
  height: 4rem;
  background: #000;
  cursor: pointer;
}

#button:hover {
  background: rgb(0, 100, 100);
}

#icon {
  position: absolute;
  top: 0;
  right: 1rem;
  left: 1rem;
  width: auto;
  height: 100%;
}

/* MENU ICON */

.lines,
.lines:before,
.lines:after {
  position: absolute;
  display: block;
  width: 100%;
  left: 0;
  background: #FFFFFF;
  transition: 0.3s;
}

.lines {
  height: 3px;
  margin-top: -2px;
  top: 50%;
}

.lines:before,
.lines:after {
  content: '';
  height: 100%;

  /* Try different values here: .25rem, .5rem, .2rem, 5rem, 10rem... */
  transform-origin: 5rem center;
}

.lines:before {
  top: 8px;
}

.lines:after {
  top: -8px;
}

/* CLOSE ICON */

.close {
  transform: scale3d(0.8, 0.8, 0.8);
}

.close .lines {
 background: transparent;
}

.close .lines:before,
.close .lines:after {
  top: 0;
  transform-origin: 50% 50%;
}

.close .lines:before {
  transform: rotate3d(0, 0, 1, 45deg);
}

.close .lines:after {
  transform: rotate3d(0, 0, 1, -45deg);
}

Anyway, if you just need to fix yours, the main problem is that the CSS selectors (or the HTML structure) are wrong. For example, you have this selector:
.ham-icon:checked .cross

But in your original HTML .cross is not a descendant of .ham-icon.
I changed a bit the structure of the HTML, the CSS selectors and adjusted a bit the cross icon SVG:

.hidden {
  display: none;
}

/* DEFULT: Menu icon shown, close icon hidden */

#menu-icon {
  height: 30px;
  padding: 15px 20px;
}

#close-icon {
  display:none;
  height: 30px;
  padding: 15px 20px;
}

/* CHECKED: Menu icon hidden, close icon shown */

#checkbox:checked + #menu-icon {
  display: none;
}

#checkbox:checked ~ #close-icon {
  display: block;
}

  <input id="checkbox" type="checkbox" name="menu" class="hidden"/>

  <svg id="menu-icon"
    version="1.1"
    xmlns="http://www.w3.org/2000/svg"
    xmlns:xlink="http://www.w3.org/1999/xlink"
    x="0px"
    y="0px"
    viewBox="0 0 64 64"
    enable-background="new 0 0 64 64"
    xml:space="preserve">

    <rect x="12" y="20" width="40" height="2"/>
    <rect x="12" y="32" width="40" height="2"/>
    <rect x="12" y="44" width="40" height="2"/>
  </svg>

  <svg id="close-icon"
    version="1.1"
    xmlns="http://www.w3.org/2000/svg"
    xmlns:xlink="http://www.w3.org/1999/xlink"
    x="0px"
    y="0px"
    viewBox="-100 -100 800 800">

    <g><path d="M356.781,305.982L601.453,61.311c14.033-14.033,14.033-36.771,0-50.774c-14.004-14.033-36.741-14.033-50.774,0L306.007,255.208L61.277,10.536c-14.004-14.033-36.771-14.033-50.774,0c-14.004,14.004-14.004,36.742,0,50.774l244.701,244.672L10.503,550.684c-14.004,14.004-14.004,36.771,0,50.774c7.016,7.017,16.216,10.51,25.387,10.51c9.2,0,18.371-3.493,25.387-10.51l244.701-244.701l244.671,244.701c7.017,7.017,16.217,10.51,25.388,10.51c9.199,0,18.399-3.493,25.387-10.51
c14.033-14.033,14.033-36.771,0-50.774L356.781,305.982z"/></g>
</svg>

A: I have seen a example like this on W3Schools. Instead of changing the icon / using display:none property use Animations.
Here is the W3schools example


Caron Butler will exercise his $1.5 million player option for next season according to The Vertical.
Even when Butler was on the floor last season for the Kings and making a jump shot here and a jump shot there, he was still giving them up on the other end with his aged defense. Some of the talk about his locker room presence was overblown but with the remnants of the Pete D'Alessandro regime finally out of there his veteran presence will have more grip than it did during the cold war between George Karl and DeMarcus Cousins.
For what it's worth too, Butler went on ESPN and pointed out that Karl never really recovered from trying to trade Cousins without authorization, and also added that players were shocked that Karl wasn't let go after they had been told he was being let go. He isn't going to back Cousins on all of his behavior, but he's among the larger group of Kings players that is realistic about what happened during the PDA era and he's going to be a nice piece on the bench because he knows that history.


text:
Alien Resurrection review: Surely the bloodiest, most gruesome of the lot
(SBS Movies)
Previous Next Show Grid
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Ripley (Sigourney Weaver) is back, 200 years later, to discover that her 'resurrection' is the result of a scientific experiment, cloning her preserved blood samples in order to give birth to the alien creature she was carrying – for scientific exploration. Ripley's DNA gets mixed up with the alien Queen bug's and she begins to develop certain alien characteristics. The scientists begin breeding the aliens, which manage to escape. Soon the Xeno-morphs are running amok on the ship, which is on course to Earth. The Queen gives birth to a deadly new breed of alien, which could spell disaster for the entire human race. It's up to Ripley and a band of space pirates to stop the ship before it reaches earth.
Margaret Pomeranz
1 Jan 2009 - 12:00 AM UPDATED 22 Mar 2016 - 1:37 PM
This surely is the bloodiest, most gruesome of the lot.
Well, are you ready? The fourth in the Alien series is here, and for those of us who mourned Ripley, fear not, she's back, maybe not exactly her old self, but as near as dammit... The humans in the series have always been stupid, greedy people and in Alien Resurrection they're just plain stupid. Haven't they got the other three films preserved on disc somewhere? Don't they know? Apparently not, because out there in space somewhere is a Medical Research ship that is actually breeding the little buggers, and Ripley, who's been reconstructed from blood samples found on the planet where she died is the host to one of them. But things change when a commercial space vehicle arrives bearing smuggled cargo; for the crew - Winona Ryder, Dominique Pinon, Ron Perlman, Gary Dourdan and Michael Wincott, it's time for R & R... but then again, maybe not...
We've seen how various directors have shaped each film in this series as their own - Ridley Scott, James Cameron, David Fincher and now Jean-Pierre Jeunet - he with Marc Caro of Delicatessen and The City of Lost Children fame. His visual style is unmistakable, but perhaps also is his love of the grotesque. This surely is the bloodiest, most gruesome of the lot. Not quite an action film, not quite thriller or horror, Alien Resurrection surrenders action to comic drama, guns to the grotesque. It's a strange and at times uncomfortable mix. However, Joss Whedon's screenplay, which explores maternal love, loyalty and humanness gives Sigourney Weaver as Ripley some dead cool lines which she delivers with panache. Ron Perlman, who, along with Dominique Pinon, must be a favourite actor of the director, is terrific as Johner. Maybe you'll feel at the end of this that you've had enough of these particular Aliens, but the look of this film alone - the cinematographer was Darius Khondji who shot Jeunet's two previous films as well as Seven - makes the price of a ticket worthwhile - if you're prepared to stand the gore. Be warned.
David: I liked it very much. I think this is a modern classic of science fiction. I think it's a beautiful film, really stunningly beautiful, and very scary as well. And Sigourney Weaver and Winona Ryder are both splendid. I really liked it a lot. I'm giving it ★★★★ ½.
Alien Resurrection
Winona Ryder, Ron Perlman, Dominique Pinon, Sigourney Weaver
MA15+
Fox Film Distributors
Horror, Thriller, Action, Sci-Fi


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text:
Consulate of the Republic of Philippines
Corporation Philosophy
Agri Products
Board of Directors - VOITH
A Board of Directors
Serving, Caring, Growing
A Board of Directors, headed by its President Suraj Vaidya, sets the overall policy and management guidance to each of the divisions - Trading and Services, Industry, Construction - of VOITH. Each division is headed by an Executive Director.
Regular staff meetings gurantee total managerial involvement in the day-to-day operation of VOITH as well as its future planning needs.
Corporation Profile
Little Things We Do
VOITH is one of the most dynamic business houses in Nepal and is dedicated to integrity, excellence and leadership.
Vijaya Academy of Health & Science
Vijaya Academy of Health & Science(in affiliation with universities from Australia and Philippines) is scheduled to begin four-year Bachelor level.
Together Building the Future
The history of VOITH growth is a story of continuous determination and an organization that always sets its sights on achieving the most ambitious goals.
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text:
Digital Google Hot Software design
Every material on this site is authentic and was extracted from the complete available project.Click to GET IT NOW
MS-WORD DOC || CHAPTERS: 1-5 || PAGES: 72 || PRICE: ₦3000
THE IMPACT OF SMALL AND MEDIUM SCALE INDUSTRIES ON THE ECONOMIC GROWTH OF NIGERIA (1986 - 2010)
1.1 BACKGROUND OF THE STUDY.
In recent time, the fortune of small scale and medium scale Industries attracted the attention of government world-wide and thus has been the focus of general interest and research, especially in developing Countries due to the importance of small scale and medium scale Industries.
Their importance cannot be over emphasized as they constitute a whole virile vehicle for the generation of vast production of outputs and job creation. They are also act as catalyst for restructuring and diversifying the productive base of an economy and for the Industrial economy and for the Industrial economy take-off and growth of such an economy. The small and medium scale Industries are seen to hold the key to future expansion of the Industrial sector.
In Nigeria, evidence has shown that in 1986, small scale and medium scale Industries accounted for 70% of all firms, employing millions of Nigerians (first Bank of Nigeria report, 1987). By the end of 1979, over 80% of all establishments licensed under the factory act were small and medium scale Industries (Onwuala, 1987). This made the importance of this economic unit to be unelectable.
Small scale and medium scale Industry in its widest sense implies the urgent response to the challenges of developing countries, of which Nigeria is not an exception. Small and medium scale Industries should be practiced with due regards to the importance of available local raw materials in its environs because the challenges facing small and medium scale Industrialist are enormous.
The importance of small and medium scale Industries to the economic development of any country, whether developing or developed, have been widely acknowledged and acclaimed. They are considered as there stimulate to private ownership and entrepreneurial skills, generate employment, promote industrial dispersal and rural- urban migration.
Clive carpenter (2001), said that across the world, small businesses are crucial for economic growth, poverty alleviation and wealth creation.
Uayatudeen (2001) said that across the world, small businesses have such a crucial role to play in the development of an economy and that cannot be ignored. According to William and David, most firms and small and medium scale Industries are compared with companies that economist usually study. But economists have concentrated on large scale Industries. The leading textbooks in economics have title discussions on small and medium scale business or entrepreneurs.
The partial combinations of small and medium scale Industries on the Nigerian economy are; creation of wealth, poverty eradication and employment generation as encapsulated in the national economic empowerment development strategies (NEEDS)
However small and medium scale Industries are bedeviled by numerous challenges which have hampered its development and growth and also its combination to national development. To this end, government has instituted various programs to address the challenges and constraints facing small and medium scale industries growth. The programs and institutions Include:
Setting up and founding of industrial estates.
Establishment of national directorate of employment (NSE)
Establishment of the Nigerian bank of commerce and industry (NBC),
the national economic re-construction fund (NERFUND),the Nigerian Industrial bank (NIDB) which has merged in to one agency in the bank of industry, the world assisted small scale enterprises loan scheme (SNEX), the Nigerian export and import bank (NEXIN) etc.
Setting up a small and medium scale enterprises development agency of Nigerian (SMEDAN); an agency which Co. ordinates development in small business sector.
Unfortunately, all these formal credit schemes have not been able to adequately address the fundamental problems which have constrained small scale enterprises access to credit; and any other enterprise establishing a small and medium scale industry requires capital to take off survive and eventually expand.
Nigeria's major manufacturers produce food and beverages, cigarettes, textiles and clothing, soaps and detergents, footwear, wood products, motor vehicle parts, chemical products and metals while small and medium scale manufacturing engage in leather making, poultry making and wood carving. The smaller industries are often organized in craft guides involving particular families who pass the skill from generation to generation.
People have lived in what is now known as Nigeria since at least 9000BC, evidence indicated that since at least 5000BC, some of them have practiced settled agriculture. In the early (centuries (AD), kingdoms emerged in the drier northern savanna, prospering from trade with north Africa. At roughly the same time, the western and southern forested areas yielded city- state and looser federations sustained by agriculture and coastal trade. These systems changed radically with the arrival of the Europeans in the late 15th century, the rise of the slave era in the 16th Century through the 19th Century. Nigeria achieved independence in the 1960, but has since been plagued by an unequal distribution of wealth and inflation.
The first well documented kingdom was the Yoruba kingdom, which was observed between the 11th -12th centuries. Over the next few centuries, they spread their political and spiritual influence beyond the borders of its small city states. Its artisans were highly skilled, producing among other things, bronze castings of heads in a very naturalistic style. Terra- cotta, wood and Ivory were the common media instruments used.
Shortly after the 12th century, the kingdom of Benin emerged in the mid-western south region. Although it was separate from the Yoruba kingdoms; Benin legends claim that the kingdoms first rulers were descendant from an Ife prince. By the 15th century, the Benin kingdom was large, wood designing was what sustained the city's trade (both within the region and later with Europe). Its legacy includes a wealth of elaborate bronze plagues and statues recording the nation's history and glorifying its rulers.
From the above paragraphs, it can be noted that small and medium scale industries are indeed necessary for the development of any economy. Small and medium scale industries act as the major stepping stone to economic growth. In Nigeria today, small and medium scale industries are common but have no efficiently achieved or attained her goals.
Therefore, to encourage local businessmen and institutions in buying small and medium sized businesses, the government established the Nigerian bank for industry and commerce, which had an initial operating capital of 50 million naira. There was some concern in Nigeria that Nigerians might not be able to raise enough capital to take over the foreign owned businesses affected by the decree and that there might not be enough Nigerians with the technical and managerial skills necessary to replace extricate personnel.
1.2 STATEMENT OF THE PROBLEM
The small and medium scale Industries survey conducted in 2005 by the central Bank of Nigeria (CBN) provides some evidence that apart from the acute short of technology, managerial skills, poor management, adverse environment, and change in policy, capital is a source of great concern to the entrepreneur in the sector. Since one of the microeconomic goals of the Nigerian government is economic growth, we can assume that the government aims at the expansion of small firms.
In a continent where finance is a major constraint on development, the problem confronting the private sector in Nigeria above all small and medium scales Industries standout.
Most large scale industries in Nigeria have reduced their borrowings due to high interest rates and the short term nature of available loans. At the same time, banks are unwilling to lend to the small and medium scale sector with its high perceived rises. In this case, lending is not efficient to the real sector and loanable funds are currently used to finance primary consumer imports and to separate in foreign exchange markets. The research question from the above experience is thus; will small and medium scale contribute much to economic growth in Nigeria when they are not properly funded.
1.3 OBJECTIVES OF THE STUDY.
The aim of this research work is to examine the importance of small and medium scale industries on the Nigerian economy in order to ascertain how small and medium scale is utilized in production using the available raw materials and resources with a view to achieve gradual formalization in the guest for national industrialization. Meanwhile, the specific objectives are:
To determine the impact of small and medium scale enterprises.
To examine the effect of small and medium scale enterprises.
1.4 STATEMENT OF HYPOTHESIS.
For the purpose of this study, the research developed the following hypothesis.
Ho: Small and medium scale industries are not catalyst for economic development and growth in Nigeria.
Hi: Small and medium scale industries are catalyst for economic
development and growth in Nigeria.
1.5 SIGNIFICANCE OF THE STUDY
The significance of the study is to establish an extent of growth and development and to expose the immense benefit derivable from small and medium scale industries.
Also, this study will help to redress the belief of the society that small and medium scale industries can bring about economic and development in Nigeria.
1.6 SCOPE AND LIMITATION OF THE STUDY.
The study encompasses the roles and contributions of small and medium scale industries on the Nigeria economy from 1986-2010. The basis of covering this period of time is to ascertain whether there have been any significant impacts of small and medium scale industries on the
Nigerian economy. And also, this study does not consider the medium and large scale industries.
In writing this project, the researcher encountered some limitations, which were; lack of information from appropriate quarter, time constraints, transportation, lack of funds, power outrage etc. However, in spite of all the odds, the researcher was able to come out with a standard work. The project However, contains information which in reliable and authentic.
Get the complet project Material


The DCMS consultation on proposals to move the Registrar of Public Lending Right to another public body such as the British Library, have met dismay from authors and their representatives. The current PLR office is efficient and effective with a small but dedicated team of officials. Government has provided no hard evidence that it will make any savings from the proposed move and, particularly in the short term, it is the BCCs view that such a move will incur higher costs. It is also the BCCs view that transferring the PLR administration to the British Library could give rise to a conflict of interest. See below the BCC's letter in response to the consultation.


Has anyone found a solution that works for preventing damage from sweat to hearing aids. I am not interested in hearing about Eargear or Hearing Aid Sweatbands neither of which have worked for me but more from someone that may have found their own solution.
To save typing this is a copy of an email just sent to Oticon that explains my plight.
I have been wearing Oticon Hearing Aids provided by my local NHS Hearing Aid centre for nearly 7 years now.
I currently have RIC and I hear very well with them!
But………….I am at the end of my tether over a problem that I cannot find a solution to. I sweat a great deal and eventually that sweating causes the aids to fail. I store them every night in an electronic drying device which helps but they eventually succumb to the damage.
My Hearing Aid Department are very good and replace them without any difficulty but it is still very stressful when you hear that tell-tale popping crackling or buzzing sound and realise that yet another pair are no longer working.
I have tried the leading two products for covering the aids "Hearing Aid Sweatbands" and "Eargear" but neither actually work sufficiently well to solve the problem.
The very latest RICs are IP68 and will be impervious to sweat. My NHS hearing aids - Oticon Spirit Synergy were unaffected when out in heavy rain for over 10 minutes. I think they are IP57 rated. Perhaps you could contact your local NHS trust and see if you can upgrade. If not, then maybe going private is an option. 7 years is a long time in hearing aid technology.
Thanks Graham that is encouraging reading. I will ask them at my next visit.


I was checking stuff in Google Search Console and I see a filter in the search appearance filter within the performance report for Android apps. It seems it is showing data from March 29th. I've never seen that filter there before but it seems to be there now.
In the Google docs for search appearance filters – Android app is not listed there. What are listed include AMP article rich results, AMP non-rich results, event, Google Play Instant, job listings, job details, media actions, rich result, search result link and web light result.
Update: Google just posted after this story went live – I pinged John Mueller about it, and they posted on Twitter that this is a new feature for sites that have Android apps associated sites their web sites – like we do.
Do you have an Android App associated with your website?  In Search Console you can now see the app's clicks, impressions, CTR, and position with a separate search appearance in the Performance report.


text:
set -e

if [ ! -e ~/.rbenv ]; then
  git clone https://github.com/sstephenson/rbenv.git ~/.rbenv
  echo 'export PATH="$HOME/.rbenv/bin:$PATH"' >> ~/.bash_profile
  echo 'eval "$(rbenv init -)"' >> ~/.bash_profile
fi

if [ ! -e ~/.rbenv/plugins/rvm-download ]; then
  git clone https://github.com/garnieretienne/rvm-download.git ~/.rbenv/plugins/rvm-download
fi

export PATH="~/.rbenv/bin:$PATH"
eval "$(rbenv init -)"
rbenv download 2.1.2
rbenv global 2.1.2

redpajama_set_name: RedPajamaGithub


text:
The Book Haven
Cynthia Haven's blog for the written word
Posts Tagged 'David Foster Wallace'
Home » David Foster Wallace
David Foster Wallace's worst friend
He got what he didn't want.
I wasn't the only link with René Girard in the current Times Literary Supplement, which included a review of Evolution of Desire: A Life of René Girard (read about it here). David Streitfeld's own book David Foster Wallace: The Last Interview Expanded with New Introduction was generously excerpted. Since the Pulitzer prizewinning New York Times journalist was one of the blurbers for Evolution of Desire, our co-appearance in the TLS was a pleasant coincidence.
The journalist admits that he was David Foster Wallace's worst friend – he says so in the first sentence, so my headline isn't just clickbait. "He would send me letters and I wouldn't answer them. He would send works in progress with forlorn notes."
For the most part, he discusses a central paradox in Wallace's life: "For twenty years, his entire career, Wallace wrestled with a question: How much of myself am I willing to give away to get what I want?"
It wasn't a choice in the end. And David … Streitfeld, that is … describes what happened:
He got what he wanted and didn't want. One way to measure his posthumous fame is to note an interview he did with Rolling Stone, which was never published in 1996 but became the basis for a story after his suicide that won a National Magazine Award in 2009. The interview transcript became a bestselling book in 2010 and then a very unlikely movie – who ever heard of a movie about an interview with a writer? – in 2015. The Wallace estate firmly distanced itself from The End of the Tour, noting quite accurately that it would have horrified Wallace as a trivialization of everything he believed, but Wallace was dead and what he would have thought didn't matter anymore. The movie got excellent reviews.
I wrote about the movie here. David … Streitfeld again, that is … tells how twenty-one of Wallace's letters were auctioned at Sotheby's five years ago. "They were, as usual with Wallace, explicit and entertaining. … Sotheby's estimated the package would fetch as much as $15,000. Instead, it made $125,000."
Worst friend? Perhaps not.
He continues: "Wallace in 1996 had to reveal himself to interviewers to sell copies of Infinite Jest, and seventeen years later the auction house had to reveal Wallace to sell his letters, which in this case fetched $70,000. The guy who always cringed at publicly showing himself was having his deepest secrets divulged, not only to the winning bidder but to anyone with an internet connection. He wrote in Infinite Jest about a future in which everything was for sale – the years are rented out to corporations; part of the novel takes place in the Year of the Depend Adult Undergarment – and now, as that future was relentlessly transformed into mundane reality, he himself was for sale."
"That, perhaps, is what happens if, instead of trusting no one, you trust everyone."
Here's the good news: David's piece is fully online … unlike the review for Evolution of Desire (so far). The excerpt is here. Read it, and be glad you aren't famous.
Tags: David Foster Wallace, David Streitfeld
Posted in Uncategorized | Comments Off on David Foster Wallace's worst friend
End of the Tour: the 21st century's answer to My Dinner with André?
Monday, August 31st, 2015
On an impulse, I dropped in at CineArts in Palo Alto Square to see James Ponsoldt's The End of the Tour, the talky film on the late great author David Foster Wallace. Silly me. I hadn't read much about the film and thought it would be a kind of documentary, made up of recorded interviews during his life. It's not, at least not entirely. However, much of the 90 minutes of conversations is indeed Wallace's own, since the narrator is another writer, David Lipsky, then a reporter for Rolling Stone, who interviewed Wallace on a five-day binge in 1996. The conversations were transcribed, fourteen years later, for publication in a book called Although of Course You End Up Becoming Yourself.
Remember 1981's My Dinner with André? That's another talky film recreating a long-ago conversation. How times have changed, even in three-and-a-half short decades! My Dinner with André, a restaged reunion between avant-garde director André Gregory and actor/playwright Wallace Shawn, did a deep dive into the human psyche, sure, but it was outward-facing, discussing worldwide travels and explorations and revelations. The End of the Tour is all inward and self-doubt and neuroses, shot through with insight, suffering, and light – but we never seem to leave these two men's heads. The 1981 film never seems claustrophobic, although it is almost entirely filmed within a New York restaurant; in The End of the Tour, although it "opens out," as they say, into Minneapolis, never seems to leave Wallace's cluttered Illinois home in the middle of nowhere, in the overwhelming winters of the American Midwest. Well, this turn of events is what Wallace predicted would happen, isn't it? See the film clip above.
So here I am. As one commenter put it, a writer writing about a movie about a writer writing about a writer. A few reflections:
I'm ill at ease about portrayals of "America" as a land of spiritual desert and strip malls – and I come from the same part of the world that Wallace did. If one sits in front of a TV and gets one's food from 7/11, yes, it will be that way. But the way of the Twinkie is chosen, not inevitable. Some of us listen to Schubert and talk about Stendhal with our friends, over tapas and Cabernet. I've never had a poptart. Why would I?
Full disclosure: I've only read some of Wallace's essays and short stories – I've never even tried (yet) to read Infinite Jest. So I take this warning to heart, from A.O. Scott writes in the New York Times: "Funny, intriguing and revealing as this talk may be, it does not have anything like the status of Wallace's writing. The film not only acknowledges this distinction, but it also insists on it. In his would-be profiler's company, occasionally glancing at the menacing red light of the predigital tape recorder, Wallace is by turns cagey and candid, witty and earnest, but he is always aware, at times painfully, that he is playing the role of a writer in someone else's fantasy. Actually writing is something he does when no one else is around." A minor point: Lipsky flings his tape recorder from jacket pocket to restaurant table, from his hand to Wallace's, casually waves it around – and yet he seems to get crisp, usable recordings out of it. How does he do that? I can't do that with today's up-to-date recorders.
Any journalist watching this film should cringe with self-recognition. Jesse Eisenberg's Lipsky, a journalist who is a Wallace wannabe, conveys hunger and avidity in his every beady glance. That's why I flinched at the tear trickling at the end – he wasn't a tear-trickling kind of guy. This is a wolf cub. It was as phony as the magic tape recorder that never runs out of tape or drops an AA battery into his Coca Cola.
I always felt reluctant to do investigative reporting, though I know it has a vital role to play in the public square. I am always aware that I am telling the story, spinning my narrative of what I see and hear. It has to be so. Nobody wants to sit through the undigested outtakes of hours of interviewing and pages of notes. You have to assemble the mess in a way that makes sense to a broad spectrum of readers and is, above all, a compelling read – even if the reportage partakes of your own obsessions and prejudices and quirks. But what if you're wrong – as you are wrong or unjust in a thousand relationships throughout your life? How often did you misinterpret a parent, a teacher, a lover, a child, a boss? How often did we misinterpret Wallace himself, who died by his own hand in 2008?
From the New York Times again:
In real life, David Lipsky might be a great guy, but on screen he is played by Mr. Eisenberg, which means that his genetic material is at least 25 percent weasel. Wallace at one point playfully describes himself as "pleasantly unpleasant." Lipsky is unpleasantly pleasant, which is much worse. Twitchy and ingratiating, he wants to be a tough journalist and a pal. He desperately wants Wallace to regard him as a peer and can hardly contain his jealousy. He berates Sarah after she chats with Wallace on the phone and falls into a defensive snit after Wallace accuses him of flirting with Betsy (Mickey Sumner), a poet who had known Wallace in graduate school.
His awfulness is, to some degree, structural. A profile writer, especially in the company of another writer, is a false friend who dreams of being a secret sharer. Lipsky's assignment is to pry, distort and betray, to use Wallace's words and the details of his existence as material for his own dubious project. Wallace knows this and acquiesces to it — "you agreed to the interview" is Lipsky's fallback when his subject gets prickly — and generally handles himself with grace and forbearance.
As Emily Yoshida points out in The Verge, he makes his own deal with his own devil: "in the face of Lipsky's insatiability, the Segel can't help but portray Wallace as constantly on the defensive, protecting nothing less than his own interiority. This, perhaps in combination with the nature of the source material, paints an even more saintly, beleaguered picture of Wallace than a conventional Oscar-bait biopic would. The film is bookended by flash forwards after Wallace's death by suicide in 2008: we see Lipsky eulogize Wallace on NPR and at a (much better attended) reading of Although Of Course…, and these are his final acts of consumption and assumption of his subject. After his death, Lipsky becomes the foremost authority on Wallace, which is almost as good as being Wallace."
This is said to be a life-changing role for Jason Segel, as Wallace (I wouldn't know; I very rarely go to films). His portrayal rather overshadowed Eisenberg, but Eisenberg, too, makes a portrayal of great subtlety. We all smell Oscars in the air. But can't two guys win?
This isn't about the real David Foster Wallace, of course. How could it be? No wonder family and friends have resisted this film. For purposes of comparison, watch the short clip from the Charlie Rose interview below, made about the same time as the setting of The End of the Tour, and note the difference in tempo, energy, pacing. Wallace is bigger, softer, fuzzier, more self-doubting. Even the timber of the voice is radically different. Segel has created a whole new person for the cameras.
The film doesn't end with Wallace's death, or Lipsky's reading of his book about Wallace. It's much better than that. Wordless after so many words, Wallace resumes his normal life after the departure of Lipsky. As he explained to the young reporter, he is part of a dance group that relives the dances of the 1970s in the basement of a Baptist Church. And we finally leave his head: we see him in the basement, jumping and gyrating to the music with uninhibited joy. It's a good way to leave him. The end of the tour.
Tags: André Gregory, Charlie Rose, David Foster Wallace, David Lipsky, James Ponsoldt, Jason Segel, Jesse Eisenberg, Wallace Shawn
Yes, David Foster Wallace read Ulysses… how do I know? Update: Scammed!
Sylvia Plath reportedly went ballistic when someone marked books in any way whatsoever. I, myself, have been known to lightly pencil brackets or little stars in the margin with a very soft #2 – and sometimes a single word, such as "Phooey!" But take a look at what David Foster Wallace did to James Joyce's Ulysses. (Hat tip Cal Doyle; this is making the rounds on Tumblr.)
Update: We've been had! The photo was posted on the respectable Housing Works Bookstore in NYC here – so we weren't alone in thinking it was legit, even though the words aren't readable on the page. However, several people, including Christine in the comments section below, and on a Facebook comment thread on our friend Mikhail Iossel's page, have identified the text as Lee Server's biography of Robert Mitchum, Baby I Don't Care. The words "Robert Mitchum" are in the lefthand page header, and the chapter heading "Phantom Years" on the right. The plot thickens: why would anyone feel the need to annotate a biography of movie star so heavily? As one Facebook commenter noted, David Foster Wallace's obsessiveness about his writing, his writing about his writing, and others' writing about his writing is well known. But Mitchum? Said another commenter: "I'm sure many writers could confess that Robert Mitchum was a bigger influence on them than Joyce."
Tags: David Foster Wallace, Sylvia Plath
Cracking the books with Wystan
"What is this tattered sheet of paper?" you may ask. It is reproof. For somewhere in my garage, I have my very own copy of this syllabus, issued by W.H. Auden to his semester class on "Fate and the Individual in European Literature," when he taught at my own alma mater, the University of Michigan, way back in 1941-42. I asked for it a decade or two ago, and would have been the first to put it online had I not misplaced it. Now it's all over the internet – I knew the game was up when The Atlantic put it on tumblr a year ago. In any case, it has influenced my life in strange ways. For example, it's the reason why Shakespeare's Henry V, Part 2, is the only work of literature on my Droid, besides the King James Bible. I still have some catching up to do to finish the list.
Cherce.
"What I find fascinating about the syllabus is how much it reflects Auden's own overlapping interests in literature across genres – drama, lyric poetry, fiction – philosophy, and music," Lisa Goldfarb, Associate Professor and Associate Dean at NYU's Gallatin School, told the New York Daily News earlier this year. "He also includes so many of the figures he wrote about in his own prose and those to whom he refers in his poetry: especially "The Tempest" of Shakespeare; Kierkegaard, Baudelaire, Rimbaud, Melville, Rilke, as well as the opera libretti on the syllabus.
"By including such texts across disciplines – classical and modern literature, philosophy, music,anthropology, criticism – Auden seems to have aimed to educate his students deeply and broadly.He probably would have enjoyed working with students on the texts he so dearly loved."
Now it's over at Flavorwire, along with the course instructions and syllabi for David Foster Wallace, Katie Roiphe, Lynda Barry, Lily Hoang, Susan Howe, Zadie Smith, Donald Barthelme. Check them out here.
But for me? I'll still take Wystan's list. It's cherce.
(P.S. I have a hidden motive for posting this syllabus. Now I can't lose it.)
Tags: David Foster Wallace, Donald Barthelme, Katie Roiphe, Lily Hoang, Lisa Goldfarb, Lynda Barry, Susan Howe, W.H. Auden, Zadie Smith
Best commencement talk you didn't hear last month
Here's the best commencement address you didn't hear last month. That's because David Foster Wallace gave this talk, "This is Water," at Kenyon College on May 21, 2005. It only went viral after the author's suicide in 2008.
But most days, if you're aware enough to give yourself a choice, you can choose to look differently at this fat, dead-eyed, over-made lady who just screamed at her little child in the checkout line — maybe she's not usually like this; maybe she's been up three straight nights holding the hand of her husband who's dying of bone cancer, or maybe this very lady is the low-wage clerk at the Motor Vehicles Dept. who just yesterday helped your spouse resolve a nightmarish red-tape problem through some small act of bureaucratic kindness. Of course, none of this is likely, but it's also not impossible — it just depends on what you want to consider. If you're automatically sure that you know what reality is and who and what is really important — if you want to operate on your default-setting — then you, like me, will not consider possibilities that aren't pointless and annoying. But if you've really learned how to think, how to pay attention,then you will know you have other options. It will actually be within your power to experience a crowded, loud, slow, consumer-hell-type situation as not only meaningful but sacred, on fire with the same force that lit the stars — compassion, love, the sub-surface unity of all things. Not that that mystical stuff's necessarily true: The only thing that's capital-T True is that you get to decide how you're going to try to see it. You get to consciously decide what has meaning and what doesn't. You get to decide what to worship…
Because here's something else that's true. In the day-to-day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And an outstanding reason for choosing some sort of God or spiritual-type thing to worship — be it J.C. or Allah, be it Yahweh or the Wiccan mother-goddess or the Four Noble Truths or some infrangible set of ethical principles — is that pretty much anything else you worship will eat you alive. If you worship money and things — if they are where you tap real meaning in life — then you will never have enough. Never feel you have enough. It's the truth. Worship your own body and beauty and sexual allure and you will always feel ugly, and when time and age start showing, you will die a million deaths before they finally plant you. On one level, we all know this stuff already — it's been codified as myths, proverbs, clichés, bromides, epigrams, parables: the skeleton of every great story. The trick is keeping the truth up-front in daily consciousness. Worship power — you will feel weak and afraid, and you will need ever more power over others to keep the fear at bay. Worship your intellect, being seen as smart — you will end up feeling stupid, a fraud, always on the verge of being found out. And so on.
Here's the good news: You don't have to have a college diploma to do all this.
A downloadable pdf of the talk here. Youtube video below:
Tags: David Foster Wallace
Posted in Uncategorized | Comments Off on Best commencement talk you didn't hear last month
David Foster Wallace: "Dostoevsky wasn't just a genius – he was, finally, brave."
Monday, April 1st, 2013
Joseph and Marguerite Frank
I drove over to visit Marguerite Frank at her Stanford apartment one night last week. She was sorting through mountains of photos and papers of her husband, the late and wonderful Dostoevsky scholar Joseph Frank.
Among the pile, she handed me this, from the Village Voice Literary Supplement: a 1996 review of the first four volumes of Joe's mammoth Dostoevsky biography. Here's the kicker: they were reviewed by David Foster Wallace, the late great writer who killed himself in 2008.
I hadn't had the chance to read the edgy author before. I have to say it was, initially, a bit of a slog. Wallace intersperses his review with italicized, existential questions between asterisks (sample: "What does 'faith' mean?" "Is it possible really to love somebody?"), and the determinedly rambling and offhand style began to grate early on. Wallace's long, digressive footnotes are a precursor to Junot Diaz's running, footnoted commentary on the history of the Dominican Republic in The Brief Wondrous Life of Oscar Wao, but Diaz is compelling; Wallace just goes on a bit.
It gets better: Wallace picks up considerable steam – both on Fyodor Dostoevsky (a.k.a. FMD) and Joe Frank. It's well worth the wait. Here's a long excerpt:
"The thing about Dostoevsky's characters is that they live. And by this I don't mean just that they're successfully realized and believable and 'round.' The best of them live inside us, forever, once we've met them. …
Are we "under a nihilistic spell"?
FMD's concern was always what it is to be a human being – i.e., how a person, in the particular social and philosophical circumstances of 19th-century Russia, could be a real human being, a person whose life was informed by love and values and principles, instead of being just a very shrewd species of self-preserving animal. …
So, for me anyway, what makes Dostoevsky invaluable is that he possessed a passion, conviction, and engagement with deep moral issues that we, here, today, cannot or do not allow ourselves. And on finishing Frank's books, I think any serious American reader/writer will find himself driven to think hard about what exactly it is that makes so many of the novelists of our own time look so thematically shallow and lightweight, so impoverished in comparison to Gogol, Dostoevsky, even lesser lights like Lermontov and Turgenev. To inquire of ourselves why we – under our own nihilistic spell – seem to require of our writers an ironic distance from deep convictions or desperate questions, so that contemporary writers have to either make jokes of profound issues or else try somehow to work them in under cover of some formal trick like intertextual quotation or juxtaposition, sticking them inside asterisks as part of some surreal, defamiliarization-of-the-reading-experience flourish.
Part of the answer to questions about our own art's thematic poverty obviously involves our own era's postindustrial condition and postmodern culture. The Modernists, among other accomplishments, elevated aesthetics to the level of metaphysics, and 'Great Novels' since Joyce tend to be judged largely on their formal ingenuity; we presume as a matter of course that serious literature will be aesthetically distanced from real lived life. Add to this the requirement of textual self-consciousness imposed by postmodernism, and it's fair to say that Dostoevsky et al. were free from certain cultural expectations that constrain our own novelists' freedom to be 'serious.'
But it's just as fair to observe that Dostoevsky operated under some serious cultural constraints of his own: a repressive government, state censorship, and above all the popularity of post-Enlightenment European thought, much of which went directly against beliefs he held dear and wanted to write about. The thing is that Dostoevsky wasn't just a genius – he was, finally, brave. … who is to blame for the philosophical passionlessness of our own Dostoevskys? The culture, the laughers? But they wouldn't – could not – laugh if a piece of passionately serious ideological contemporary fiction was also ingenious and radiantly transcendent fiction. But how to do that – how even, for a writer, even a very talented writer, to get up the guts to even try? There are no formulae or guarantees. But there are models. Frank's books present a hologram of one of them."
Tags: "Joseph Frank", David Foster Wallace, Fyodor Dostoevsky
No love lost: "authors are some mean mofos"
Saturday, July 2nd, 2011
Hank James, zat you?
A few weeks ago, we wrote a few words on famous feuds between authors.
What better way to follow up than with nasty letters authors wrote on each others' work? I read flavorwire's post on the topic some time ago, which excerpted a longer column from The Examiner here, with a Part 2 here. It seems like as a good a way as any to begin the holiday weekend.
Take this one:
Wyndham Lewis on Gertrude Stein: "Gertrude Stein's prose-song is a cold black suet-pudding. We can represent it as a cold suet-roll of fabulously reptilian length. Cut it at any point, it is the same thing: the same heavy, sticky, opaque mass all through and all along."
As one commenter, Dave, concluded: "Authors are some mean mofos."
Instead of resnipping the earlier lists, however, I decided to raid the suggestions from readers.
No eraser
Ben Jonson on Shakespeare: "I remember the players have often mentioned it as an honor to Shakespeare that in his writing, whatever he penned, he never blotted out a line. My answer hath been, 'Would he had blotted a thousand."
Baudelaire on Voltaire: "I grow bored in France – and the main reason is that everybody here resembles Voltaire … the king of nincompoops, the prince of the superficial, the anti-artist, the spokesman of janitresses, the Father Gigone of the editors of Siècle."
H.G. Wells on Henry James: "A hippopotamus trying to pick up a pea."
Ahem...
Louis-Ferdinand Céline on D.H.Lawrence's Lady Chatterley's Lover: "600 hundred pages for a gamekeeper's dick, it's way too long."
As far as potty-mouth goes, try this one: Stephen Fry on Dan Brown's The DaVinci Code: "Complete loose stool water. Arse gravy of the very worst kind."
William Hazlitt about his good friend Coleridge: "Everlasting inconsequentiality marks all he does."
Then there's a Jane Austen pile-on:
Mark Twain: "Just the omission of Jane Austen's books alone would make a fairly good library out of a library that hadn't a book in it."
Charlotte Bronte's criticism is less snarky, more an excellent Romantic era critique of the preceding era's Classicism:
"A Chinese fidelity..."
". . . anything energetic, poignant, heartfelt, is utterly out of place in commending these works; all such demonstration the authoress would have met with a well-bred sneer . . . She does her business of delineating the surface of the lives of genteel English people curiously well; there is a Chinese fidelity, a miniature delicacy in the painting: she ruffles her reader by nothing vehement, disturbs him by nothing profound: the Passions are perfectly unknown to her; she rejects even a speaking acquaintance with that stormy Sisterhood; even to the Feelings she vouchsafes no more than an occasional graceful but distant recognition; too frequent converse with them would ruffle the smooth elegance of her progress. Her business is not half so much with the human heart as with the human eyes, mouth, hands, and feet; what sees keenly, speaks aptly, moves flexibly, it suits her to study, but what throbs is the unseen seat of Life and the sentient target of death–this Miss Austen ignores, she no more, with her mind's eye, beholds the heart of her race than each man with bodily vision, sees the heart in his heaving breast. Jane Austen was a complete and most sensible lady, but a very incomplete, and rather insensible (not senseless) woman . . ."
Ceallaig's perceptive comment from an intelligent heart: "My question is: if Mark Twain hated Jane Austen why does he say 'every time I read it?' Wouldn't once have been enough? Ditto Noel Coward's slam on Oscar Wilde: 'Am reading more of …'? as if the first dose wasn't sufficient? I'm sure most of these slams were meant to be witty, and I agree with a number of them, but … wit used for the sake of nasty doesn't work for me."
Ellis: "a mean shallow stupid novel"
Then I found this interesting post, from bibliokept. David Foster Wallace on Bret Easton Ellis. I leafed through Ellis' Less Than Zero in the Stanford Bookstore a couple decades ago, and found it ugly and depraved. I haven't read Wallace at all, and have been put-off by his super-celebrity status, which, morbidly, seemed to accelerate with his 2008 suicide – until I read this excerpt from an interview:
"I think it's a kind of black cynicism about today's world that Ellis and certain others depend on for their readership. Look, if the contemporary condition is hopelessly shitty, insipid, materialistic, emotionally retarded, sadomasochistic, and stupid, then I (or any writer) can get away with slapping together stories with characters who are stupid, vapid, emotionally retarded, which is easy, because these sorts of characters require no development. With descriptions that are simply lists of brand-name consumer products. Where stupid people say insipid stuff to each other.
Wallace: "In dark times..."
'If what's always distinguished bad writing—flat characters, a narrative world that's clichéd and not recognizably human, etc.—is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is?
"In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. You can defend Psycho as being a sort of performative digest of late-eighties social problems, but it's no more than that."
I'd say it's considerably less.
Bibliokept's thoughtful consideration of Ellis versus Wallace definitely worth a thoughtful read.
Tags: Ben Jonson, bibliokept, Bret Easton Ellis, Coleridge, D.H.Lawrenc, Dan Brown, David Foster Wallace, Gertrude Stein, H.G. Wells, Jane Austen, Louis-Ferdinand Céline, Noel Coward, Oscar Wilde, Stephen Fry, Voltaire, William Hazlitt, William Shakespeare, Wyndham Lewis
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Is There a Free Arrest Warrant Search?
What are Florida Arrest Records
What is a Bail Bond For?
What is the Process of Getting Arrested?
Sheriffs By County
A Quick Guide to a Sheriff
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Alameda County Sheriff's Office
All You'd Want to Know About a Sheriff Badge
Brevard County Sheriff's Office
Broward County Sheriff's Office
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Colorado Sheriff's Department
Cook County Sheriff's Office
Cuyahoga County Sheriff's Office
Douglas County Sheriff's Office
Florida Sheriff's Department
Franklin County Sheriff's Office
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Police Laws Regarding Taser Guns And Mace
What You Should Know About Law Enforcement
When Can Police Search Your Home
Do Police Have Specialized Police Patrol
How to Become a Police Officer?
What is a Police Citation
How to Fight a Speeding Ticket?
The Hard Facts About Traffic Tickets
Why Did You Get a Parking Ticket
A Full Guide to Illegal Aliens
Amnesty For Illegal Immigrants
Big News on Illegal Immigration
Don't Even Try Using Illegal Downloads
Don't Get Involved in Illegal Street Racing
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Having Too Much Fun with Illegal Fireworks
Illegal Fights Will Get You In Trouble
Illegal Immigration Statistics
Illegal Logging of Lumber or Timber
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More In Police
How to get a restraining order?
Warming Up a Cold Case
Legal Terminology
Are Steroids Illegal in the US?
Can Taking Legal Action Help You?
Does the Law Have Legality
The Facts on the Legalization Of Marijuana
What is a Legal Age?
What is Jurisprudence
What is Legal Separation
What is Legalization?
Should Marijuana Be Legalized
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Georgia Police Chief Assaulted Restrained Inmate
On October 22, 2012, the Department of Justice announced that Walter Young, the former police chief for the Omega Police Department in Georgia, was sentenced for assaulting a man who was restrained and in his custody.
Young was sentenced by U.S. District Judge Hugh Lawson and received 24 months in prison for "violating the civil rights of a pretrial detainee" while performing his duty as a police officer.
Thomas E. Perez, the Assistant Attorney General for the Civil Rights Division, stated, "There was no excuse for this use of force on a restrained individual and excessive force by those sworn to uphold the law will not be tolerated. The Justice Department will continue to vigorously prosecute law enforcement officers who violate the constitutional rights of others."
According to court documents, Young assaulted the detainee on March 24, 2011. While man was fully restrained in a chair, Young proceeded to slap and punch the man in the face and head. The detainee, Mr. Moreno, was hit a total of eight times, and he had his nose broken.
All of the excessive force was recorded by the surveillance system at the jail, and Young was convicted on August 1, 2012.
U.S. Attorney Michael J. Moore declared, "We trust our law enforcement officers to protect and serve the people of their community. When we discover violations of that trust, the U.S. Attorney's Office will use all of our resources to see that those officers who broke the law are made to account for their actions."
The case was investigated by the Federal Bureau of Investigation. Special Litigation Counsel Forrest Christian and Trial Attorney Tona Boyd were in charge of prosecution. The U.S. Attorney's Office for the Middle District of Georgia and the Georgia Bureau of Investigations assisted in the investigation and prosecution as well.
Source: U.S. Department of Justice
Settlement Leads to Reform at East Haven Police Dept
Puerto Rico Officers Indicted for Civil Rights Charges


The Nineteen Nineties witnessed one of the vital rapid rates of technological innovation in the twentieth Century. The 1998 alumnus and guitar titan gave a master class at the Berklee Performance Center, providing recommendation and constructive suggestions to a handful of Berklee students on their unique songs. It might be a track that you simply perform live or on a CD that you just sell at your live shows, a track in a YouTube video, a digital obtain or sheet music – if it is on the market, you are eligible to affix.
We will discuss concerning the highness or lowness of pitch within the more basic sense, equivalent to the way in which a listener hears a piercingly excessive piccolo word or whistling tone as greater in pitch than a deep thump of a bass drum We additionally discuss pitch within the exact sense associated with musical melodies , basslines and chords Precise pitch can only be decided in sounds which have a frequency that's clear and steady enough to differentiate from noise.
Many varieties of music, resembling conventional blues and folks music weren't written down in sheet music ; instead, they had been originally preserved in the reminiscence of performers, and the songs were handed down orally , from one musician or singer to a different, or aurally, in which a performer learns a song " by ear ". When the composer of a music or piece is not identified, this music is usually labeled as "conventional" or as a "folk tune".
With the theme Love Supreme, the ninth annual BGJI Summit, to be held March 30 at the Berklee Performance Heart, will celebrate the affect of William Shakespeare, Maya Angelou, Geri Allen, Kahlil Gibran, Gabriela Mistral, John Coltrane, and Martin Luther King Jr. on at this time's jazz era.
Be a part of musicians from greater than 70 international locations for the summer of a lifetime. "Structure as Performance: Cognitive Musicology and the Objectification of Procedure," in Otto Laske: Navigating New Musical Horizons, ed. J. Tabor. Of course, some artists found the thought of anticipating their fans to wait a while, then obtain a hidden song to be slightly apparent, and took to hiding songs within the tiny hole earlier than the primary monitor.


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Notice is hereby given that the vessels listed below have either been impounded or owned by the DEPARTMENT OF LAND AND NATURAL RESOURCES, DIVISION OF BOATING AND OCEAN RECREATION, 4 Sand Island Access Road, Honolulu, Hawaii 96819. Scheduled time of disposition by public auction will be at 9:00 a.m. on September 22, 2017 at the Division of Boating and Ocean Recreation Administrative Building Conference Room, located at the Ke'ehi Small Boat Harbor, 4 Sand Island Access Road, Honolulu, Hawaii 96819. These vessels will be disposed of by public auction pursuant to Chapter 200, Hawaii Revised Statutes.
An auction catalog, with pertinent information and auction procedure instructions may be obtained in person during the hours of 7:45 a.m. to 4:00 p.m., Monday through Friday, at the Department of Land and Natural Resources, Division of Boating and Ocean Recreation, Oahu District Office, 4 Sand Island Access Road, Honolulu, Hawaii 96819. Auction catalogs and auction procedures may also be obtained at the Ala Wai Small Boat Harbor, Haleiwa Small Boat Harbor, Heeia Kea Small Boat Harbor, Ke'ehi Small Boat Harbor and the Waianae Small Boat Harbor.
A copy of the auction catalog and auction procedures shall be available for inspection at the Hawaii District Boating Office at Honokohau Small Boat Harbor, Kailua-Kona, Hawaii; Maui District Boating Office, Wailuku, Maui; and the Kauai District Boating Office, Lihue, Hawaii.
The listed items contained in the auction catalog are sold as is, where is. There are no guarantees or warranties. The sale of these vessels do not include a berth, mooring, storage area or trailer, unless specifically stated. Buyers must make separate arrangements for a berth. Interested panics are informed of the requirement, under "provision" for the purchaser to remove the vessel from its present location within the prescribed time after the issuance of the Bill of Sale. The prescribed rime for removal after the auction shall be included in the auction catalog. No vessel shall be sold for less than its minimum bid upset price as noted in the auction catalog.
The Department of Land and Natural Resources reserves the right to remove any item from the auction at any time. Should the registered owners of any of the vessels pay all outstanding fees and charges prior to the start of the auction on September 22, 2017, the vessels will be removed from the auction.
The stated items are under the custody of the Department of Land and Natural Resources. Trespassing is prohibited.
If the vessels are not sold at auction, the vessels will be disposed of in accordance with Hawaii Revised Statutes Section 200-16.
Item No. 1610, "BIG FOOT", Reg. No. HA 3452 H, a 52' fiberglass sailing vessel, in fair condition.
Item No. 1613, "ARISA", Reg. No. HA 2433 F, a 42' fiberglass cabin motorboat, in fair condition.
Item No. 1705, "SOUTHERN CROSS", Reg. No. HA 5572 G, a 41' fiberglass sailing vessel, in fair condition.
Item No. 1712, "CECELINE", Reg. No. HA 5097 D, a 47' fiberglass sailing vessel, in fair condition.
Item No. 1715, "IKIMASHO", Doc. No. 907770, a 45' fiberglass sailing vessel, in fair condition.
Item No. 1716, "PORT OF NORMAL", Doc. No. 627227, a 56' fiberglass sailing vessel, in fair condition.


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Twin Peaks Rewatch 30:
Beyond Life and Death
Our rewatch of the full run of Twin Peaks has finished with our enthusiastic discussion of its stunning finale. But stay tuned for continuing Twin Peaks talk, including our take on the film Fire Walk With Me next week!
Listen on the Episode Page
Fire Walk With Me Pre-Discussion!
Catching up? Listen to the Rewatch archive.
Loved all of the stuff in the lodge. Some of it was genuinely terrifying. Had at least one nightmare inspired by this episode, and I remember being creeped out for a solid week. When I'd see a window, I'd keep imagining Doppleganger Laura's face slowly sliding into view and silently screaming.
This episode was worth all of the junk parts of season two.
I can't say I was too thrilled with how it ended, though. Nothing about Bob possessing Cooper worked for me. I tried thinking of how things would play out and I had a hard time imagining any interesting scenarios.
*downward snap* I'll see you again in twenty-five years.
I love this one so much. It's my favorite episode of Twin Peaks, and probably of TV, period.
Really excited to read the responses, especially first-timer's. I'll have more to say later.
Now that we are almost at the film, I've posted a bit of advice for first-time viewers. I moved it to the general thread since it's sort of off-topic but if you want to read it, and get a sense of (maybe) the best way to approach what can be a challenging "Twin Peaks movie" (that I think is the best part of the saga, personally) go here: https://www.idlethumbs.net/forums/topic/9887-general-twin-peaks-discussion/?p=359932.
Ok, back to the finale...
It really was. I watched it (and Peaks) for the first time late last year, and even as a "modern" viewer who is used to unusual or downright wild stuff on television this was one of the weirdest things I'd seen. My roommate and I were genuinely freaked out by doppelganger Laura (the scariest thing ever to be on the show, in my opinion), the doppelgangers in general, and deranged Cooper at the end. Even the sound design in that scene is offputting; there's a little shrieky sound as Cooper smashes his head against the glass.
(LostIntheMovies, I'm assuming you're eventually going to drop some knowlege about how drastically the finale changed from script to filming? That's fascinating stuff, knowing how close it came to being more late-season garbage, and you surely know more than I!)
When I saw it I was very grateful to know that new Twin Peaks was coming because it's such a bummer of an ending. It felt like David Lynch was salting the earth so it was easier to handle knowing that the story would continue, even decades later. Now, however....
My assumption was that Truman and Doc Hayward heard him being crazy in the bathroom, figured out something was up, and locked him in a psych ward a la Windom Earle. Which is one of the reasons I didn't like the extended epilogue in the deleted scenes of Fire Walk With Me as it
seemed to belie that reading without adding anything new.
Fortunately Fire Walk With Me is still to come, and while it's a prequel as far as when it's set in chronology, it feels more, to me, like a device to close up Twin Peaks as a circle. As to whether or not Lynch "salted the earth," that's something I look forward to talking about over the next two weeks.
gormanate
Location: Boston, Massachusetts
I was so surprised how much non-black lodge stuff is in this episode because those scenes dominate my memory of it.
The Nadine scene was so tragic to me. Having Ed and Norma happily dancing followed by Nadine's return was really devastating (although Mike apologizing was kinda hilarious to me).
And the Haywards. Holy crap that is a brutal scene. I'm curious how these changed from their original script.
And man oh man I love that bank scene so much. Echos the first episode of season 2, and I just like how Lynch made the ending to this ridiculous plot thread basically something from Looney Tunes.
And agree with everyone else. The black lodge scenes are unlike any episode of television I've ever seen.
The beginning of the episode, namely the twelve rainbow trout / a circle of twelve sycamore trees connection, felt so rushed that it made me chuckle. First of all, there are only eleven trees in the cave painting. Second of all, god damned Truman, you really didn't make a connection with the map and the wildly unnatural circle of sycamores before? Also, did Cooper actually need the scorched engine oil for anything, or was he just confirming his suspicion and shocking poor Ronette in the process?
The Bobby and Shelly scene felt weird to me at first, especially because I didn't remember Heidi at all from the earlier episodes. Turns out that she was in the first episode and moreover that the conversation between the three is identical to the one in the pilot! Is this a reference to a cyclical nature of bob-based evil or something?
The Black Lodge stuff and especially the doppelganger Laura were very well done in my opinion. I'm not a fan of Cooper being possessed by Bob, but I found the ending incredibly chilling as well.
I have never seen Fire Walk With Me. I'm really looking forward to it!
Here is the original shooting script for episode 29.
http://www.lynchnet.com/tp/tp29.html
I would encourage everyone to read it because it's so revealing. Pay attention not just to what Lynch added/changed inside the Black Lodge but also to what he added/changed outside of it. It was his idea to bring back forgotten characters like Sylvia Horne, Heidi the waitress, Ronette, and Sarah Palmer - the first time we have seen a Palmer since Sarah's ironic line "I want to remember all of this" at Leland's wake, which cut her from the show. The entire diner scene with its feeling of both repetition and closer (in maybe Lynch's most beloved town location) is entirely Lynch's invention. Even Audrey's callback to her Cooper crush ("call the sheriff's station and ask for Agent Cooper") was not scripted. It's clear that in addition to taking Twin Peaks into new territory, Lynch really wanted to return to its roots as well.
Anyway, now that we've reached the end of the show I can share Part 3 of the video series I shared in previous threads (Part 4 is devoted entirely to the film). It covers episodes 18-30 (by the show's count) but half of its 8 chapters are devoted to series-wide subjects rather than specific episodes. To wit: the stories of the ensemble, the show in the media (including it's near-cancellation in season 2), the development of Agent Cooper - specifically the differing approaches of Lynch and Frost, and finally the sources of the Twin Peaks mythology. You can see all the videos in Part 3 (including a long Vimeo clip presenting the chapters together) here: http://thedancingimage.blogspot.com/2014/12/journey-through-twin-peaks-part-3-whole.html
Or you can jump right into the first chapter of Part 3 and follow the links at the end of each video to continue:
Hope both first-timers and veterans find it informative and enjoyable. Despite it's many flaws, the second half of the show offers a lot to digest and even sets up the finale and film in interesting ways.
Argobot
Haven't rewatched the ep yet, but I remember really enjoying all the callbacks in it. Can't wait to see the finale again, especially since I've now seen FWWM.
That script puts such a perverse emphasis on oral hygiene at the end --down to waking Cooper wanting to brush his teeth. I can't recall did that line make the final version or does Dale have another reason to go to the bathroom right before the show's final reveal?
I will say this about all the dentist/dental imagery. I read that screenplay years ago and now every time I visit the dentist I associate it not only with a trip to the Black Lodge but also the opening of the episode where the camera worms it's way out of an acoustic ceiling tile. The tile holes being the primary view offered by the dentist's chair. Coincidence? I think not!
Lost in the Movies, I just watched your episode on the final episode of Twin Peaks.
Obviously, brilliant work and bravo. Your passion and love for the series is so abundantly clear and incredible.
Also, fuck it's 11,45pm and I choose to watch that. Twin Peaks is seriously the only show to make my going to sleep a nightmare.
It did! I know this because I could freak my roommate out very quickly by giving her a deadpan, "I need to brush my teeth".
I like that line a lot, actually, because the viewer probably has a hunch that he's not quite right, but it could also just be typical goofy Cooper concerned about his oral hygiene.
I had to get up at 5am today and arrive over an hour early to work with no-one else here so I'm grabbing the time to watch this while I can.
The opening investigation is such garbage. Why would King Arthur matter at all? Let alone all the other contrived details they choose to tie together in the first five minutes. In general there were rushed bits of wrap up in this episode, but admittedly it is way better than dwelling on floundering plotlines anyway.
As with the first viewing I do really love the red room sequence. And from chatter on here/being older I feel like I follow what's going on in it a lot better this time round. On that note, this time round I found myself wondering if there might be something more particular to the 'How's Annie?" line. On my first viewing I presumed it was just to show Cooper's state but I now find myself wondering if there's supposed to be a hint towards Annie's condition too.
Have you seen Fire Walk With Me or The Missing Pieces?
I have seen Fire Walk With Me but none of the other content around the show.
RE: FWWM
The movie actually shows her being rushed to hospital, if I remember correctly. Apparently the missing pieces shows a little more post-S2 stuff, but I've not seen it! Lost in the Movies will know.
My god, reading through that script was a nightmare. Especially the black lodge scenes. What pure garbage. To think that we could have ended the series with Bob dressed as... a dentist? And sucking out Windom Earle's soul with a giant hypodermic needle? No, please jesus, no! I don't even want to think about it.
To think that we could have ended the series with Bob dressed as... a dentist? And sucking out Windom Earle's soul with a giant hypodermic needle? No, please jesus, no! I don't even want to think about it.
Right? So bad. So, so bad.
I'd be okay with getting a little bit of the DoppelCooper in the new season of Twin Peaks. MacLachlan can play unnerving very well.
That scene is actually in the Missing Pieces, along with
a nurse taking the ring from her finger and an extra minute or two of evil Cooper in the bathroom. The only scene with Annie in FWWM is when she appears in Laura's dream and says "The Good Dale is in the Lodge. Write it in your Diary." Incidentally, she says the same thing (in a trancelike state) in the hospital bed in the deleted scenes, just before the nurse takes the ring.
I meant more that I was wondering what Annie's mental state might be. It seems odd to me to presume that no-one in the lodge might have done anything to Annie and just let her be. Couldn't she have a doppelganger too?
Well, there's only one Bob, so I assume not. Windom seemingly perished inside the black lodge - unless she is taken over by the little man or the giant.
SirJakoz
I'm still here! I just didn't feel like I had anything to add to the table.
I loved everything inside the Black Lodge, when we first see Cooper's doppleganger I thought: "I hope Leland makes an appearance", and there he was, and it felt so good.
I'm looking forward to FWWM and Twin Peaks 2016 if they don't change their mind once again.


This is an unbranded coffee table, but looks absolutely FANTASTIC. It is a real statement piece!
It has iron supports from the leg to underneath the surface and iron bolts making it very sturdy and good looking.
This table comes from a smoke and pet free home.


I'm a morning person for sure. And I'm definitely not one for late nights and lie ins. Because most days I like to get up and get after it as early as possible.
So whether that's a heavy workout in the gym or crushing some work, being active early sets me up for the day. And I find that a hit of caffeine really helps my mental focus. And it helps me to plough through a ton of work while others are still coming to terms with the fact that staying under the covers all day is not an option.
But, for all its upside, the 'bro' approach to it is highly annoying.
One of my big bug bears is the chest thumping, Neanderthal opinions of lots of guys in the gym.
No doubt led by the sensationalist marketing that goes with pre-workout products, they see caffeine as simply a means to get 'wired' before hitting the weights. Eyes out on stalks, grunting and hollering before each set, it feels like you're on the set of Planet of the Apes with a load of caged animals. But let's leave to one side the fact that most of the products they're taking don't have effective doses.
More often than not, the key ingredients are lacking the quantities needed to be effective. And as such, most of the effect is probably just placebo.
Without doubt, caffeine has so much more to it than many people realise.
So let's get into the detail and find out exactly what those benefits are.
Caffeine is rapidly absorbed into the bloodstream. From the moment you take the first sip of espresso, your body is starting to utilise and absorb it. Due to it's chemical nature, caffeine can be absorbed through the lining of the mouth (when taken in the appropriate form).
When the caffeine enters the body it begins to be metabolised by the liver where it is broken down in to 3 other chemicals (Theophylline, Theobromine, Paraxanthine). These chemicals have various different effects on the body when absorbed, ranging from relaxing smooth muscles (which is why some of you might feel the need to go to the loo after drinking coffee), to increased blood flow and alertness.
Even though the effects can be felt almost straight away, there's a subtle difference between feeling the initial effects and it being fully absorbed in the bloodstream.
Studies have been carried out on the absorption rates of different forms of caffeine and this provides a great insight for those of us that are into fitness.
Understanding this next bit is going to be crucial for optimising when you take that pre-workout drink to get its maximum effect.
When Should You Take Caffeine For Maximum Benefit?
There are 4 main ways to consume caffeine which I'm going to refer to here. You've probably come across one or more of these in your time.
Therefor, your best source of caffeine to enhance your training, is going to be from an energy drink (ie. pre-workout) or coffee. Consume either around 40 minutes before you workout.
Now we're cooking with gas, I'm on my second coffee and I'm tearing up the keyboard. So while I'm on a roll let's dive into those benefits.
Caffeine is proven to improve focus and energy. And it's effect on tiredness is probably the most studied aspect of the drug.
Here's a bit more science to explain how it all works. Andenosine plays a key role in telling your brain when it's time to go to sleep. If enough Adenosine binds to the Adenosine Receptors in the brain then your brain / body will know it's time to go night night. What caffeine does is bind to those receptors and prevent the Adenosine from binding, thus giving you that more awake and alert feeling.
By blocking Adenosine, caffeine increases the release of the neurotransmitters dopamine and norepinephrine, which regulate mood and behaviour and have ananti-depressant effect.
Caffeine increases the body's ability to burn fat. How awesome is that? I can imagine a lot of you have goals of being leaner. So, it looks like caffeine can play a small part in that process.
This study highlighted an increase in energy expenditure and fat burning for those performing exercise and supplementing with caffeine, versus those just exercising.
There are several other studies that have linked caffeine to fat loss. And for the those of you interested in the science side of it. Here's another short study you can read.
Evidence is mixed on the direct effect of caffeine on the muscles. One thing is for sure, caffeine is not going to increase protein synthesis. Effectively that means caffeine isn't going to help that muscle repair and growth process to add more lean muscle mass. What it will do is impact the part of the brain that signals muscle activation.
This study looked at the effects of varying caffeine dosages on squat and bench press performance. It concluded that 3mg/kg of body weight significantly increased muscle power of those two lifts. Whilst this study only looked at these two lifts, you could logically extrapolate that there's benefit across other similar compound lifts. And as I'm a huge advocate of heavy compound weight lifting there's a clear benefit here.
Thermo-what??? Thermogenesis. This is basically the production of heat in the body and can directly effect your Resting Metabolic Rate (RMR).
Increases in thermogenesis have been shown to increase energy expenditure and the oxidation of fat (fat burning). So it's another benefit for more fat loss.
Several studies are cited in this article on authoritynutrition.com.
This is an interesting one (well to me anyway, I'll let you be the judge). Consuming caffeine as part of your post workout nutrition as well as carbs has been shown to preserve glycogen (energy stores). A study carried out by the Australian Institute of Sport in 2008 showed that those consuming caffeine and carbs after exercise had 66% more glycogen in their muscles.
There are obvious benefits to this in terms of recovery from training and also being able to nail the next day's workout. It's definitely something to consider as part of trying to maximise your training and nutrition strategy, especially in a calorie deficit.
You now should have a good understanding of what caffeine is, how it works, and what the benefits are. In terms of incorporating it into your diet, you need to be mindful of all the potential sources you are getting it from.
Caffeine is contained in coffee, energy drinks, chocolate, and fizzy drinks (to name just a few). Therefore, you need to have some consideration to your overall intake. Excessive caffeine consumption can lead to unwelcome side effects. Not only that, but your body will build up a tolerance, making the effect of caffeine diminish over time.
Caffeine anhydrous (water removed) seems to be the favoured version to improve performance in exercise, but coffee is a good secondary option too.
Your dose of caffeine per day should range between 3-6 mg per kg of body weight. This is the range where the scientific studies have proven to be beneficial without causing unwanted side effects.
However, your own tolerance and response to caffeine may differ to others. My advice would be to start with a very low dose and build up from there. You can assess your tolerance in a gradual way.
But, if you have high blood pressure I would be very careful with your caffeine intake. Because, exercise is going to increase your blood pressure, and caffeine will add to that. So it's worth seeking the advice of a medical professional first.
If you are using caffeine for specific sporting events then you should consider the amount of caffeine you consume and when to consume it. But you should also consider your intake in the days leading up to the event. When I used to cycle, I would make a conscious effort to back off the caffeine in the week before a big race. This helps reduce the tolerance your body might have to it. Additionally, it will increase the effectiveness on the day.
Caffeine has benefits for many aspects of exercise performance, from fat loss, to increased energy, to improved power output.
A healthy athlete should look to consume 4-6mg per kg, per day with the majority weighted to pre workout and the remainder post-workout.
Need help setting up the perfect nutrition plan?
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Hope you enjoyed the read. Let me know what you think of the article guys.