The Europe Video Encoders Market would witness market growth of 3.7% CAGR during the forecast period (2017 - 2023). Video encoders, also known as video servers, are used in analog CCTV video surveillance systems for the integration with a network video system. Video encoders are pivotal in installations where analog cameras are to be maintained. A video encoder allows an analog CCTV system to seamlessly migrate to a network video system. The users can seamlessly use the existing analog equipment and enjoy the benefits of network video.
Video encoders play a significant role in converting these analog systems to IP-based systems. Delivering media content to any connected device has grown to be a most crucial broadcast industry trend over the years and has led the broadcasters to transmit compressed high-quality content to ensure better streaming. The increasing demand for ultra-high definition (UHD) or 4K videos has driven the development of better encoders to transmit content over small bandwidths, driving the growth of video encoders technology within the broadcast applications.
Based on Application, the market report segments the market into Surveillance and Broadcast. Surveillance Application includes Retail, Transportation, Commercial, Military & Defense, Institutional, and Other. Broadcast Application includes Contribution Encoders and Distribution Encoders. Based on Type, the Europe Video Encoders market segments the market into Rack-Mounted and Standalone.
Based on Number of Channel, the market report segments the market into 1 Channel, 2 Channel, 4 Channel, 8 Channel, 16 Channel, and More Than 16 Channel. Based on Countries, the Europe Video Encoders market segments the market into Germany, UK, France, Russia, Spain, Italy, and Rest of Europe.
The market research report covers the analysis of key stake holders of the Europe Video Encoders Market. Key companies profiled in the report include Harmonic Inc., Telairity, Inc., Delta Digital Video, Axis Communications AB, Haivision Systems Inc., Dahua Technology Co., Ltd., Arris International Plc., Cisco Systems, Inc., Robert Bosch (Bosch Security Systems GmbH), and Matrox Electronic Systems Ltd.


Begin by using fresh seed.
If using leftover seed from the previous year, it should be tested for germination first. Place a specific number of seeds, such as 10 or 100 on a moistened paper towel. Fold the moistened paper over the seeds and put it in a plastic bag in a warm place. Take the paper out and inspect the seeds twice a day, spraying with water as needed to maintain moisture around the seeds. After the usual number of days required to germinate that variety, count to see how many have germinated and calculate the percentage of germination.
Test the growing medium on site and at a soil test lab prior to seeding for pH and soluble salts. For optimum seed germination for most crops use a growing media with a pH of 5.7 to 6.2 and low soluble salts. Many seedling problems often relate to pH and soluble salts.
To prevent damping-off, use a preventative biofungicide (protectant), either a commercial growing medium where it is already incorporated into the medium, or as a spray or drench. Damping-off is a disease of germinating seeds and young seedlings. Several fungi cause damping off including Rhizoctonia and Alternaria and the water molds Pythium and Phytophthora.
Streptomycin lydicus (Actinovate SP), bacillus subtilis GB03 (Companion) and Trichoderma harzianum, strain T-22 (Rootshield), Trichoderma harzianum strain T-22, and Trichoderma virens strain G-41 (RootShield Plus+) can all be used for seedlings (including vegetable seedlings). Note: Actinovate SP, and RootShield are OMRI listed (organic).
How a mix is handled can affect the air and water content of the mix. Air space results in good drainage and is important for healthy seedlings. Compacted media will reduce air space and lead to poor root development and difficulty with roots penetrating the media. To minimize compaction, containers, cell packs and plug trays should be lightly filled with growing medium and the excess brushed away. The medium should not be packed down, tamped down, or filled pots tapped down on the bench. The pots and trays should never be stacked directly over one another.
Another consideration is the moisture content of the mix prior to filling containers. When water is added to dry components such as peat, they hydrate and swell. This swelling helps to create more aeration by preventing the particles from nesting within one another. This is especially important in plug production. Water should be added to the mix before it is placed into the container. It is best to moisten, then mix and allow to sit overnight prior to use. If that is not possible, waiting at least a couple of hours after adding the water will help the hydration process.
The media should be damp to the touch but not wet. A simple test for moisture content of the medium is to take a handful after adding moisture and squeeze it. No drops of moisture should come out. When your hand is opened, the medium should still retain its shape. If it falls apart right away, it is too dry. When pressed lightly and it should fall apart. The correct amount of moisture will result in less shrink or settling of the media.
Transplants can be grown in all types and sizes of containers. Seeds are sown in open seed flats or in single-cell (plug) trays. Before sowing, decide whether germination and finishing will occur in the same container or whether seeds will be sown in one container followed by transplanting to a finishing container.
When sowing in open seed flats, growers often sow in rows. Seedlings are easier to handle and damping- off disease is easier to manage. However, if seed is sown too thick, crowded seedlings will result in stretched plants and create high humidity around seedlings that favor damping-off diseases not to mention the difficulty to transplant.
Many growers use plug trays for some of their crops. Studies have shown that plug trays with deeper cells have better drainage and oxygen in the medium due to deeper columns. However, the importance of providing optimum temperature and moisture during germination is more critical than depth of the plug tray.
If using plug trays, seed placement in the cell is important. Seeds placed near the edge of the cell are likely to desiccate.
If covering seed, use medium or coarse vermiculite to create a micro-environment of high humidity. Fine vermiculite can result in buried seed. Some seed need light to germinate; these are covered lightly or left uncovered. A mist system will help keep these moist.
Be sure plug flats are watered evenly and gently, especially for very small seed to avoid burying seed. Often the success or failure of plug germination is directly related to the moisture applied to the seed. Temperature and moisture requirements are determined by the crop being grown. Once the seeds have germinated, the growing medium can be allowed to partly dry between waterings.
Move seed trays into a germination chamber or propagation area to receive necessary humidity and water as soon as possible after sowing. It helps to group crops by temperature needs. Do not allow germinating seeds to be interrupted by dryness by remaining in the seeding area too long.
Warm temperatures and uniform moisture are needed to ensure successful germination and get the plants off to an even start, whether seeds are germinated on the bench or in germination chambers. Many germination chamber systems are commercially available including custom built germination units. Growers often use bottom heat or root zone heating to provide warm, even temperatures. Rubber tubing or mats with hot water are placed on the bench top under the plants. A weed mat barrier is placed on the top of the bench to help spread the heat with skirts on the side to help contain the heat. It is important to remove flats from the germination chamber as soon as radicles break through the seed coat to avoid seedling stretching. Experience and experimentation with your total seeding system is the key to uniformity and success.
When using a germination chamber, it is important that the correct amount of moisture for germination is used until trays are taken out onto the bench.
The choice of fertilizer will determine the type of plant growth as well as adjusting the media pH. Peat-lite fertilizers used for general crop production such as 20-10-20 will promote more shoot growth, softer plugs, fewer roots and result in a lower media pH. Most growers have found it better to use a special plug fertilizer such as 13-2-13 (high nitrate, low phosphorus plus minors) that will give more toned growth, better roots and maintain a higher media pH.
Media EC levels should be monitored to avoid high soluble salts, which damages roots and promotes root rot. Beginning in Stage 2 (opening of the cotyledons) a dilute fertilizer program (25-50 ppm N) is normally started and the rate of application is gradually increased as the seedlings grow larger and approach transplanting with guidelines below.
Rinse off fertilizer when applied on sunny days to avoid burning growing tips and tender young leaves. Crops sensitive to this problem include salvia, coleus, ageratum and snapdragons.
Problem: Seedlings exhibit a corkscrew habit or lay down in the seedling tray or the radical hooks and grows along the soil surface without penetrating the surface.
Possible causes: Compacted media in the cell or high soluble salts or high media pH.
Problem: Upward cupping of leaves.
Possible causes: Poor rooting and thickened roots indicate high soluble salts or growing too dry or sodium (perhaps high levels in irrigation water). An inward curl of leaves indicates excessive light for shade plants.
Problem: Downward cupping of leaves.
Possible causes: Overwatering or dysfunctional heater causing phytotoxicity and ethylene to be produced.
Problem: Tip abortion combined with dark green foliage color.
Possible causes: High soluble salts and/or high ammonium.
Cox Douglas. Fertilizing Bedding Plant Seedlings.
Damping Off, New England Greenhouse Update, 2014.
Smith T. Resources for Scheduling Greenhouse Crops.
Sawaya Melhem. Growing in the Green: It's time for a tune-up.


text:
const fs = require('fs');
const ko = require('knockout');
const path = require('path');
const file = require('../file');
const pkg = require('../../../package.json');
const config = require('../../shared/config');

const template = fs.readFileSync(`${__dirname}/splash-screen.html`, 'utf8');

function viewModel() {
  const vm = {
    anaVis: `${pkg.productName} ${pkg.version}`,
    recentUsedFiles: ko.observableArray(config.getValue('recentUsedFiles').slice(-100).reverse()),
    onOpen: () => {
      file.open();
    },
    onCreate: () => {
      file.create();
    },
    onOpenRecentFile: (recentFile) => {
      file.openSingle(recentFile);
    },
    getFilename: (file) => {
      return path.basename(file).replace(/\.avd$/i, '');
    }
  };

  return vm;
}

function register() {
  ko.components.register('av-splash-screen', {
    viewModel: viewModel,
    template: template
  });
}

module.exports = { register };

redpajama_set_name: RedPajamaGithub


text:
X-Message-Number: 27581
From: Francois <>
Subject: Definitions of identity and computer chips
Discussions of the nature of Identity have resumed for a while and I have
had some new thoughts on the subject. I think the problem we are facing here
is that we are arguing about two different things which we are confusing
with each other. Therefore, one side's arguments are seen as invalid by the
other side, and vice versa. But the arguments are valid when applied to the
notions they aim to prove.
I think Robert's mathematical definition of identity is probably perfectly
valid, although I do not have the mathematical training to fully understand
it. For the sake of argument, I will simply accept it as such. What,
however, does it actualy prove? Well, it proves something I would call
Objective Identity. It proves that indeed, objects A and B cannot be the
same, however perfectly we make B a copy of A. At the very least, we still
have two distinct objects we call A and B, and in no circumstances can A
become B or B become A. That's Objective Identity. There is however a second
kind of identity which I would call Subjective Identity. It is a property of
sentient entities. Humans, and possibly many animals, fall into that
category. Subjective Identity is the internal perception of being a certain
individual and not another. Memories, feelings, desires, personality traits,
the general shape, sounds , smells and other attributes of one's body all
contribute to the creation of that sense of self. This is really what we
want to preserve when we are talking about prolonging life.
Lets revisit a philosophical problem I believe was submitted on cryonet some
time ago. Individual A is on an out of control spaceship about to burn up in
Earth's atmosphere, and there is nothing he can do about it. Aboard the ship
is a device that can read an object's atomic structure and transmit that
information to a recieving device on the ground. It uses the information to
build a perfect replica of the object out of its own reserves of atoms. In
desperation, individual A enters the transmiting device which dutifully
performs its intended function. On the ground, the receiving device builds a
perfect replica of individual A, lets call it individual B. The process is
completed before the spaceship is destroyed. Individual B walks out of the
device totally unharmed, while individual A is killed when the spaceship
breaks up in the atmosphere and is totally incinerated. Did individual A
escape the doomed ship or not?
Well, according to Robert's definition of idendity, of course not.
Individual A was killed in the crash, and what walks out of the replicating
machine is individual B, a clearly different individual. From the point of
view of Objective Identity, this is trivially obvious and cannot be
contested. However, from the point of view of Subjective Identity,
Individual A did escape. Lets say that individual A called himself Sam.
Individual B will therefore also call himself Sam. He has Sam's memories,
feelings, desires and personality traits. His body is atomically identical
to Sam's body. If the receiving device was at an appropriate location, he
could have walked out, looked up at the sky and witnessed the fiery
destruction of the spaceship, a spaceship he would have remembered having
been on only moments ago. Individual A dies, individual B comes into
existence, but the person  that calls himself Sam lives on. Sam's opinion is
the only one that matters, and a person calling itself Sam clearly exists in
Individual B just like it existed in individual A. Sam did escape the
spaceship.
This can be illustrated even more convincingly by one of Robert's own
examples. He evoked the possibility of taking an old 8086 chip and offering
it to be converted into a modern Pentium IV, only to dismantle it and
building a new Pentium IV out of different atoms. The 8086 itself, of
course, would not have survived the procedure, but we can approach the
problem from a very different angle. Suppose we have a sentient program
running on that old 8086. It is not a human brain simulation or any kind of
simulation, it is an actual pure software program, an assemblage of
heuristic algorithms, routines and subroutines, something that behaves very
much like the Doctor program on Star Trek Voyager. It has routines that
receive and interprets inputs from digital cameras which allows it to see,
routines that understand and interpret speach, which alows it to understand
people talking to it, routines that can create meaningful sentenses in
response, which allows it to hold intelligent conversations with people,
etc,. The global network of interractions between all these routines is what
ultimately gives sentience to the program.
We now tell that program that we will transfer it to another machine, one
that uses a Pentium IV. The program is turned off, saved on the 8086
machine's hard drive and uploaded to the hard drive of the Pentium's
machine. The old 8086 machine is then unplugged and thrown in the trash. The
sentient program is now dead. It is then loaded into the Pentium IV machine
and started up again. The program has been brought back to life and as far
as it's concerned, nothing much has happened, except that it now finds
itself running on a much better machine then before. The Objective Identity
of the program is no longer the same, but it's Subjective Identity has not
changed.
The Devil fears those who learn more
than those who pray
Rate This Message: http://www.cryonet.org/cgi-bin/rate.cgi?msg=27581

redpajama_set_name: RedPajamaCommonCrawl


All construction and development projects introduce a need for communication and understanding amongst the client and contractor, builder and subcontractor, and client and/or builder and governing municipality.
These relationships can become complex and the need to better understand varying dynamics, construction codes, and procedures is time consuming and often detrimental to the success of a project in regard to overall experience and cost effectiveness.
Utilizing a Construction Liaison can help a project function more smoothly and allows opportunity for research, understanding, and problem solving that often becomes thwarted by frustration and time constraints. Keen Development Group, LLC has experienced the obstacles in the field and understands how to assist all participating individuals in minimizing the issues often present in construction and development processes.


If your not interested in hearing about our experience with pulling a breech lamb, you should just skip this post.
Our 12 year old has a thriving herd of 12 sheep. He bought 4 sheep 2 years ago. We've already butchered 2 and and lost 2 babies. Overall, we love the Katahdin sheep. They have been very easy compared to some of our other farm animals.
The book says 95% of the time, sheep lamb just fine without any help. We recently had one of those 5% gone wrong experiences I don't think any of us will forget.
One of his yearling ewe's was due to lamb and was showing obvious labor signs. The day progressed and during our periodic checks on her, it became obvious that she was in good labor but making little progress. Being of the 95% belief, we thought for sure she'd have the lamb any moment. When it became clear that she wasn't progressing, the boys brought her down to a pen to check her out.
Our 12 year old put the gloves on and checked her finding only on foot presenting. He knew that was a problem and tried to find the other foot. It proved to be a very difficult needle-in-a-haystack search, but eventually he found the other foot and leg.
Even after finding the other foot, the lambs presentation was terribly wrong. Eventually, we figured out that it was completely breech and one of the legs was twisted and broke (probably from laboring in the position it was in).
It became apparent that the lamb was probably already dead and that if they didn't take more forceful, drastic measures to get the lamb out, the ewe would probably not make it either. Eventually, the guys were successful in pulling the breech lamb. The baby lamb was a stillborn little ram who was terribly malpresented with a twisted and broken leg.
After they pulled the lamb, the ewe was in a bit of shock and didn't move for quite a while. They gave her a shot and some molasses water and watched her in the pen until morning. The released her out in the pasture and so far, almost 2 weeks later she is doing well. Thankfully!
A couple of days later, another on of his expecting ewes, also a yearling, had a healthy delivery of twins!


text:
Some of you have seen the trailer or sneak peek of the new live-action "Kim Possible." From what I have seen, it is a total disaster. The fight scenes are trash, the characters are barely even a shadow of what they once were, and don't even get me started on the fact that Kim Possible isn't even wearing her infamous, fighting crop-top.
Though it was only a cartoon, the original characters of "Kim Possible" had depth and angles. Kim was not your average girl. She cared about people and was headstrong. She knew right from wrong and didn't think twice about telling others. Ron Stoppable was an oddball but he had heart. Even when he was scared of a mission, he never turned his back.
Although we don't see much of Ron in the trailer or sneak-peak, it's easy to see Ron is going to be more of the dorky guy with a very vague personality.
In the original series, Ron became friends with a naked mole rat named Rufus, a creature most wouldn't even look at. However, Rufus is nowhere to be seen, and there has been no response from Disney as to where the not-so-furry little creature is. If there is no Rufus, live-action "Kim Possible" will be pushed further down in the trash can.
Looking at the characters from the live-action, Kim may be caring, but she doesn't have the vibe of anything like the original character. The girl wears clothes that look like they're from "Justice," and she hardly matches the famous outfit cartoon Kim wore to every mission. The pants aren't baggy and again, no black crop-top. She shouldn't be in an "action" movie; instead, she should be on the cover of a Party City costume.
The fight scenes are garbage. Kim literally does the same move in every single fight — a jump kick. Does Disney expect us to be impressed? If so, I don't hear any applause.
The original "Kim Possible" was extraordinary; it had characters that almost everyone could — and still can — relate to.
The live-action "Kim Possible" movie is just a way for Disney to make some extra money and feel like they did their part to help several young adults relive their childhood — when in reality, they're destroying it.
braden funk, 12 "I don't want to be harsh, but I feel like it will tarnish the name of the TV show. The series was so good, and I don't think the movie is going to live up to it."
lizzy peeples, 10 "I saw a couple episodes of the original 'Kim Possible' TV show, and I'm excited to see it in live-action."
Going, Going, Gone?
Black Thought is the GOAT
Stop & Smell the Roses
Don't Be Catty
"I guess what I'm trying to say is don't wish away your days here because one day you will wake up and there won't be many, if any, left."
Party Foul
"Maybe if I had woken up with a positive attitude, I would have had more good days on my calendar-of-life than I do now."
"So say 'Hi' to a kid you've never met in the hallway, be friends with everyone — just smile a lot."


Studios, producers and engineers have been salivating at the mere thought of the new RADAR 24 for months now. The third generation of RADAR (Random Access Digital Audio Recorder) hard-disk recorders is finally shipping.
The Score: The R24 is a fantastic recording environment. If you are looking for a hard-disk multi-track recorder, the iZ Technology RADAR 24 should be high on your list of considerations.
In 1992, after entering into a marketing agreement with Otari, the original iZ Technology RADAR was shipped under the Otari name. The RADAR was the world's first standalone 24-track hard disk recorder. With a list price of $25,000 it was beyond the reach of the typical project studio. Now, less than a decade later, iZ Technology has taken marketing into its own hands with the introduction of the RADAR 24 multitrack hard-disk recorder.
The new R24 (RADAR 24) provides 24-bit recording at sample rates up to 192 kHz. It offers a wealth of features at a base price well within the reach of the serious project studio -$4,995.
Many of the hardware features that shipped standard on the Otari RADAR and the RADAR II are options on the R24. This is one way iZ Technology has been able to sell the new box at a substantially lower price than the RADAR II's.
The philosophy behind the R24's design is that there is no need to pay for features that are not going to be used. If you plan on using the box with the Mackie D8B, the Sony DMX-R100 or any other digital desk, it is likely that you won't need A/D or D/A converters - so you don't need to buy them. If you need them down the road, they can be added later.
The R24's rear panel can be equipped with connectors to interface the box with virtually any piece of studio equipment. If the machine is equipped with the analog option, six DB-25 connectors (wired to match the TASCAM standard) provide 24 channels of balanced analog input and output. Inputs/outputs may be connected balanced or unbalanced depending on the studio's wiring scheme. The R24 operates at +4 dBu with four user-selectable reference levels.
The R24 comes standard with 24 channels of TDIF digital I/O along with an 18 GB Seagate Barracuda hard-drive, two channels of AES/EBU and S/PDIF digital I/O. Three DB-25 connectors provide the standard TDIF digital I/O. Connector space is also reserved for the installation of the forthcoming optional AES or lightpipe interface boards (Price TBA).
By using the AES/EBU or S/PDIF connections, the R24 can digitally record on any two tracks and can output digitally from any two tracks. The box can simultaneously output analog and digital signals and track input can be assigned as either digital or analog.
Sync Reference BNC in and out connectors and Digital I/O Sync (word clock) BNC in and out connectors are included to ensure clock sync between the R24 and other digital devices. MIDI in/out/thru ports are also included. A standard PC or Mac can control the R24 via SMPTE or MMC. A PC parallel port allows a printer to be connected.
RADARlink provides in and out ports (both 9-pin) to allow up to eight R24 units to be linked together for a total of 192 tracks. The Sony 9-Pin Serial Machine Control port allows the R24 to be controlled by the transport controls of any externally connected device that supports the Sony 9-pin interface.
The VGA port provides a graphical display of waveforms, track meter values, sync settings and edit parameters via any standard VGA monitor (not included). The use of a monitor is necessary when using the included KC-24 keyboard as a controller, and helpful - but not required - when using the optional Session Controller remote ($1,195).
All the controllers provide dedicated track-arming buttons and transport, auto-locate and edit controls. In addition to providing a recording environment with the feel of a traditional tape remote, the Session Controller also includes lighted buttons and a jog/shuttle wheel that greatly simplifies editing.
The optional controller includes 48 track- arming buttons so a single controller can easily operate two R24 units as a single 48-track system. The Session Controller's macro keys enable common button-press sequences to be stored and recalled at the touch of a button.
An optional 24- or 48-track meter bridge ($495/$795) connects to the controller or to the Controller Port (if no optional controller is being used) on the rear panel of the R24. It can be attached to a controller or placed anywhere in the studio, but it can also be placed in another position (e.g. on top of the console meter bridge) with the purchase of an extension cable. In larger format configurations, a second meter bridge may be mounted next to the standard one, for level display of 48 tracks.
The external SCSI port allows the R24 to be connected to an external disk-drive chassis, allowing additional SCSI drives to be connected for additional recording capacity.
The R24 also comes standard with an Ethernet port for networking and 2 USB ports for future applications. The R24 can be shipped with the optional 192 kHz S-NYQUIST high-resolution board set ($3,995) or the 48 kHz RADAR 24 classic board set ($1,695), which is identical to the RADAR II. With the plain NYQUIST card, 24 tracks can be recorded at 48 kHz or 12 tracks at 96 kHz. With the S-NYQUIST card, the option of recording six tracks at 192 kHz is added (an excellent option for 5.1 mixing).
My test unit was equipped with the 96 kHz NYQUIST board set ($2,995), which I found to have outstanding audio quality. The improvement over the RADAR II sound is significant.
The R24 can handle up to 99 projects with each project containing up to 99 locator positions. Each project, locator position and track can be labeled via the Session Controller or an external computer keyboard. The R24 will support import and export of the Broadcast WAV file format via DVD-RAM in the soon-to-be-released 3.10 version of RADAR 24 software. This will allow drag and drop file importing into PC- and Mac-based DAWs using DVD-RAM or DVD-ROM drives.
The long list of R24 options includes additional hard drives (9, 18 or 36 GB $475 to $895) and 24- and 48- track meter bridges. For backup purposes, the R24 can be optionally equipped with 2X DVD-RAM, Exabyte Eliant 820, Exabyte Mammoth, Exabyte Mammoth LT or AIT.
iZ Technology has done a commendable job with operational documentation. The QuickStart guide is the size of a CD case and contains all you need to get started. The complete manual is included on a CD-ROM packaged in the back of the guide's back cover.
I put the R24 to the test over several weeks and its operation was flawless. While Ioften use Pro Tools, in a tracking situation it simply cannot compete with RADAR 24. RADAR perfectly blends the feel and reliability of an analog 24-track machine with the mobility of the ADATs and DA-88s.
I only wish there was a way to implement plug-ins. I realize the R24 is not a DAW, but onboard auto-tuning, EQ and compression sure would come in handy.
Unlike the RADAR and the RADAR II, which are built around DOS machines, the R24 is based around the BeOS operating system. This means it boots in a fraction of the time and is more stable than ever (the RADAR II was already the most stable hard-disk recorder on the market). In bouncing back and forth between the R24 and the RADAR II, I was amazed at how much quicker the R24 came to life at power up.
The R24 is backward compatible with RADAR and RADAR II files, and an thing recorded on the R24 is compatible with the RADAR and RADAR II - if it is in an audio format supported by one of those machines.
I used the R24 to mix Waterdeep's new album. The project was originally tracked on 20-bit ADATs, which are reasonable-sounding machines. After the material was digitally transferred into the R24 via my Otari Universal Format Converter (UFC) (iZ Technologies' UFC is $2,995), I was amazed at how much better the tracks sounded. The sound of the R24 is simply stunning, even with lower bit rate and lower sample rate material. For the Waterdeep project, I have been working with both 9 GB and 18 GB drives and both have performed flawlessly.
Before I started the Waterdeep mix, I did some recording at 96 kHz and I had wonderful results. I am convinced the R24 is one of the best-sounding digital multitracks I have heard.
I must confess that I entered this review process already loving the RADAR II, so perhaps I am a bit biased, but I am even more sold on the RADAR 24. In comparison to the RADAR II, R24 has better sound, more features and is less money.


text:
Because Someone Had To Tell You
The most attractive names, according to The Grade
Christina Wolfgram
When creating your profile on a dating app, you might spend hours crafting the perfect bio and editing the perfect picture, but according to recent statistics published by The Grade, potential matches might be swayed to swipe right by your name. The Grade, which works a lot like Tinder, observed which names were getting the most approving swipes, and found that a rose by any other name might not smell as sweet.
The top three women's names that earned the most right swipes were Brianna, Erika, and Lexi. Briannas got right swiped 70% of the time, and, according to the study, are most likely to match up with people named Sean. "You're invited to the wedding of Brianna and Sean," does have a certain ring to it. Maybe it's that almost-rhyme.
Meanwhile, the top three dude names were Brett, Tyler, and Corey. 24% of girls swiped right on the winning title, Brett, which is definitely a testament to how selective girls are when surveying potential matches. Apparently, Bretts are most likely to end up with gals named Jessica, a name that landed at #65 on the popular ladies' names.
Here are the top ten "most attractive names." You can check out the full lists on The Grade.
The Grade also examined whether or not people are more attracted to nicknames. Interestingly, it doesn't seem to hurt men's chances: there was a .10% difference between the amount of right swipes Michael got compared to Mike, and barely 1% separated Matt and Matthew. For girls, however, nicknames appear to be game changers. The name Rebecca received right swipes more than half the time, while Becky was right swiped a little over 20% of the time. Men preferred Sarah with an -h to Sara without one, but didn't visibly differentiate between different spellings of Alison, Aly, Allie, or Ali.
So, if you're not reaching right swipe goals on your dating app, feel free to blame your parents. Maybe think about legally changing your name to Brett.
(Images via Giphy and The Grade.)
By Christina Wolfgram
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Jeff Anderle
Chair, Woodwinds; Coordinator, Woodwind Chamber Music; clarinet and bass clarinet, Clarinet; Professional Development
janderle@sfcm.edu
Woodwind Chamber Music
Clarinet Studio Class
Practical Aspects of a Career as a Musician
Musical Startups
Introduction to Technology for Performers
MM, San Francisco Conservatory of Music
BA, Music, University of California, Los Angeles
Switchboard Music, Co-director
Sqwonk
Splinter Reeds
San Francisco Contemporary Music Players
Winner, Chamber Music America grant, 2016
What is your favorite recording?
This is a bit of an odd pick, but the Italian ensemble Sentieri Selvaggi released an EP of music by Philip Glass and Gavin Bryars — just one piece from each composer. It's haunting and captivating.
Sentieri Selvaggi: "Plays Bryars and Glass" (Cantaloupe Records)
What are you passionate about outside of music?
One of my main interests outside of music is aikido, which is a type of martial art best described as "compassionate self-defense". In addition to really fun rolls and throws, there are interesting psychological and spiritual aspects that have permeated into both my daily and musical life. It's also fun for me to be a beginner at something and remember what it's like to learn!
Who were your major teachers?
Gary Gray and Luis Baez.
What is a favorite quote that you repeatedly tell students?
"If you can make something interesting to you, it will definitely be interesting to an audience."
What question do you wish students would ask sooner rather than later?
"Why do I play music?"
It's really important for students to know what motivates them and why they're on their current path. There are many ways to have a rewarding, music-filled life, but you need to figure out what kind of rewards you want and what kinds of things you enjoy doing first! (This question is somewhat inspired by a TED talk by Simon Sinek.)
What was the defining moment when you decided to pursue music as a career?
I don't think there has been a single defining moment where I decided to pursue music as a career. The closest is probably when I was applying for college — I had applied to half of my schools as undecided and half as a music major, and the process of preparing for and taking auditions really made me want to stay with music. But mostly my career feels like a series of small achievements and advancements that has led to where I am today.
What was a turning point in your career?
After finishing school, I had built up quite a few misconceptions on what a career in music should look like, with the main issue being that I thought I needed to do what everyone else was doing. For me, that meant taking orchestral auditions, which I did dutifully a few times until I realized I didn't enjoy either the preparation or the process of the audition, and wasn't even particularly excited about some of the jobs! The turning point was realizing that I had other musical opportunities at the time (Sqwonk, Edmund Welles, Switchboard Music, Redshift) that were much more satisfying to me and I decided to pursue those with all of my effort instead.
Now, many of those groups are in or near their 10th season, and have become the central pillar of my career. I've since taken some auditions and found a way to enjoy them, and perform regularly with orchestras across the Bay Area, none of which I expected when I made what I felt like was a radical choice after graduation.
If you could play only three composers for the rest of your life, who would they be?
This is a bit unfair to ask of clarinetists, since most composers only have a few works that feature us, and even more unfair for someone specializing in contemporary music because I'm sure the answer is someone who might not be born yet! That being said, I think I could live with just two: Marc Mellits and Johannes Brahms. Mellits to sate my groovy/post-minimal needs (plus, he's still composing!), and Brahms because everything he wrote for clarinet is so incredible.
From a music history perspective, what year and city are most important to you?
San Francisco, 1964. In November 1964, Terry Riley's In C premiered at the San Francisco Tape Music Center and was hugely responsible for breaking classical music out of the academic world of strict serialism. Minimalist music (which I love) started soon after and has evolved through Post-minimalism (which I also love) and into the "Totalist" or "Post-genre" music that I'm particularly passionate about.
What recordings can we hear you on?
Sqwonk, Sqwonk
Black, Sqwonk
Sqwonk+, Sqwonk
Got Stung, Splinter Reeds
What is your unrealized project?
I'd love to start a San Francisco clarinet ensemble or collective. There are so many amazing clarinetists here across several genres and it would be amazing to gather them all in one place for concerts and to share ideas.
Jeff Anderle is a pioneer in the world of low reeds, helping to popularize the role of the modern clarinet and bass clarinet through his innovative and diverse performances, ensembles, and commissions. He is the bass clarinetist in Splinter Reeds and half of the bass clarinet duo Sqwonk, as well as a member of the San Francisco Contemporary Music Players. He is a former member of the virtuosic, heavy metal bass clarinet quartet Edmund Welles, as well as REDSHIFT contemporary music ensemble and the Paul Dresher Electro/Acoustic Band. In addition, he makes regular guest appearances with a wide range of music institutions from orchestras to diverse chamber music ensembles. Jeff is a founding co-director of Switchboard Music, and serves on the faculty of the San Francisco Conservatory of Music where he teaches clarinet, chamber music and professional development, and is the chair of the woodwind department. He is a Selmer Paris performing artist.
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Sam's No. 3...The Best Diner in Denver, Glendale, & Aurora!
DENVER – It has been more than 16 years since Mike Hampton threw his final pitch in a Rockies uniform.
And on Saturday, the Rockies finally finished paying the bill. The last of 10 annual $1.9 million payments, which began after Hampton's career ended, was made.
It was a gamble the Rockies took in December of 2000, kicking off that year's winter meetings by signing Hampton to a six-year, $121 million deal, which at the time was the biggest deal in Major League history.
After two seasons, however, both sides knew a parting of the ways was in order, which resulted in a three-team deal in which the Rockies acquired Vic Darensbourg, Charles Johnson, Pablo Ozuna and Preston Wilson from the Marlins.
The Marlins acquired Juan Pierre, in addition to Hampton, from the Rockies, and then shipped Hampton to the Braves for right-handed pitchers Tim Spooneybarger and Ryan Baker. Baker never got out of the minor leagues.
To make the deal, however, the Rockies not only picked up an additional $40.25 million of the contract, resulting in the Rockies having paid $68,253,543 for two years of that six-year deal.
Hampton made a strong first impression. Thirteen starts into his Rockies career he was 9-2 with a 2.98 ERA, which led to his being selected to the NL All-Star team, one of only two All-Star selections of his career. After that, however, things fell apart. He made 49 more starts with the Rockies and went 12-26 with a 6.62 ERA before finding himself in Atlanta.
"I did hit 10 home runs in those two years," said Hampton.
Hampton admitted the contract created a stress he never anticipated.
"It follows you," said Hampton, "the pressure to live up to that money. You don't make like you feel it, but you want to live up to the contract. The end of the day, you want people to feel the contract is a bargain. You have pride, and you want to prove you are worthy of it."
The two years in Colorado were a blight on his career record. Overall, he wound up 21-28 with a 5.75 ERA with the Rockies. The only other team with which he had a losing record was the Mariners, the team that originally drafted him, and then traded him after a late-1993 big-league call up in which he was 1-3 with a 9.53 ERA.


text:
Q: group messages - MySQL I have a table called messages that stores user messages, and the table structure looks like this:
Messages:
id   from_id    to_id  content
1    1          2       ABC
2    2          1       BCC
3    1          2       EFG
1    4          2       GHJ
2    2          4       MNX
3    15         2       LKH

Is it possible to run a query to group messages like the following?
Expected Output:
   from_id  to_id
    1       2
    4       2
    15      2

Conversation between two parties will be in one group. So, we can see from table messages, there are 3 groups.

A: You can do either
SELECT DISTINCT LEAST(from_id, to_id) from_id,
                GREATEST(from_id, to_id) to_id
  FROM messages;

Output:

| FROM_ID | TO_ID |
|---------|-------|
|       1 |     2 |
|       2 |     4 |
|       2 |    15 |

or
SELECT from_id, to_id
  FROM messages
 GROUP BY LEAST(from_id, to_id),
          GREATEST(from_id, to_id);

Output:

| FROM_ID | TO_ID |
|---------|-------|
|       1 |     2 |
|       4 |     2 |
|      15 |     2 |

Here is SQLFiddle demo

A: I think you're looking for DISTINCT
SELECT DISTINCT from_id, to_id
FROM messages
WHERE to_id=2

A: I've come with the following solution. We LEFT join the messages with responses. Then, we select distinct pairs of from_id and to_id, but we use CASE expression to decide if we'll take the from_id and to_id from the first message, or a response. This is based on an assumption that it is ok to always have a smaller id as from_id and larger id in to_id.
Solution:
CREATE TABLE messages (
    id INT,
    from_id INT,
    to_id INT,
    content VARCHAR(20)
);

INSERT INTO messages VALUES (1, 1, 2, 'ABC');
INSERT INTO messages VALUES (2, 2, 1, 'BCC');
INSERT INTO messages VALUES (3, 1, 2, 'EFG');
INSERT INTO messages VALUES (1, 4, 2, 'GHJ');
INSERT INTO messages VALUES (2, 2, 4, 'MNX');
INSERT INTO messages VALUES (3, 15, 2, 'LKH');

SELECT
    DISTINCT
      CASE
        WHEN m2.from_id IS NULL
          OR m1.from_id < m2.from_id THEN m1.from_id
        ELSE m2.from_id
      END AS from_id,
      CASE
        WHEN m2.to_id IS NULL
          OR m1.to_id > m2.to_id THEN m1.to_id
        ELSE m2.to_id
      END AS to_id
  FROM
    messages m1
    LEFT JOIN messages m2 ON (m1.from_id = m2.to_id AND m1.to_id = m2.from_id)
;

FROM_ID    TO_ID
1          2
2          4
15         2
Check at SQLFiddle

redpajama_set_name: RedPajamaStackExchange


text:
The Beatles' songs – complete A-Z list!
Published: 14 March 2008 | Last updated: 26 September 2020
Recorded: 25 February 1969
Producer: George Harrison
Engineer: Ken Scott
Released: 28 October 1996
Anthology 3
George Harrison: vocals, electric guitar
Although best known as the title track of his 1970 solo triple album, George Harrison taped a solo demo of 'All Things Must Pass' in early 1969.
The recording took place on 25 February 1969, Harrison's 26th birthday. During the session he also taped demos of 'Old Brown Shoe' and 'Something'. All three demos were released on Anthology 3 in 1996.
Harrison wanted all three to become Beatles songs, although 'Old Brown Shoe' and 'Something' went on to be recorded by the group. 'All Things Must Pass' had also previously been put forward frequently during the Get Back/Let It Be sessions in January 1969; that it wasn't recorded properly by The Beatles suggests that either the other members didn't like the song, or that Harrison decided that they didn't deserve it.
'All Things Must Pass' was the simplest of the 25 February demo recordings. Harrison recorded two takes, then added extra guitar onto the second.
The lyrics were based on a translation of part of chapter 23 of the Tao Te Ching. A translation was included in Timothy Leary's 1966 book Psychedelic Prayers After The Tao Te Ching, under the heading "All Things Pass":
A sunrise does not last all morning
A cloudburst does not last all day
Psychedelic Prayers After The Tao Te Ching
Another Harrison song, 'Isn't It A Pity', was demoed by Harrison on 26 January 1969 with the working title 'George's Demo'. The Beatles never recorded the song – it also emerged as a highlight on the All Things Must Pass album – although Ian MacDonald and Mark Lewisohn have suggested that Harrison also put forward the song during the Revolver sessions. This, however, does not tally with Harrison's own recollections, in which he said the song was written after 1968.
I think I got [the title] from Richard Alpert/Baba Ram Dass, but I'm not sure. When you read of philosophy or spiritual things, it's a pretty widely used phrase. I wrote it after [the Band's 1968] Music From Big Pink album; when I heard that song in my head I always heard Levon Helm singing it!
Joseph Brush Sunday 22 November 2009
What a shame this song didn't make a Beatles album. The same could be said for George's Not Guilty as well.
Michael A. Cromie Sr. Friday 2 October 2015
Joseph I could not agree more . I didn't even hear "Not Guilty" until the Anthology 3 was released and I could not BELIEVE that great song didn't make any Beatles album !
Gerry P. Tuesday 30 March 2021
I also regret that All Things Must Pass wasn´t recorded properly through the Get Back-sessions – but listening to some of the session recordings and the discussions my feeling is that George himself didn´t exactly know how he wanted the song to sound – he experimented with Lesley E-Guitar, mentioned that it might be better to play it on an acoustic guitar – and seemed to be quite undecided. John seemed to be completely uninterested in the song, but Paul was quite supportive, played a proper bass line and tried to add some accompanying vocals that certainly weren´t perfectly worked out – but at least he tried seriously.
I also do not understand why The Beatles didn´t pull out Not Guilty again … for Get Back (later Let It Be) or Abbey Road – they had invested a good 100 takes in the song – and the result was not bad at all.
It would have been a great addition to the Let It Be album (which only runs app. 35 minutes) – and Don´t Let Me Down was also left out incomprehensibly.
TheOneBeatle (From Youtube) Sunday 20 December 2009
This is one of the songs, that i wished that we're either recorded and put on Get Back or Abbey Road.
But, it came in a solo album.
Damn it, why The Beatles never recorded it.
Only that somebody want do a version trying to imitate the vocals of John, Paul and drumming or backing vocal of Ringo too.
But that's just a dream.
Beatle fran Thursday 3 December 2015
It further vindicated GEORGE as a viable player in the songwriting duties of the group, and strengthened is need to get out, grow, flourish!
I'm glad the Beatles rejected it, or George didn't let them have it!! What would his monumental solo album have become?!!!
All Things MUST Pass, Away!!!!
Josh Cook Wednesday 13 January 2010
The Beatles did record this, but it was during the early rehearsals for GET BACK — i.e., the Twickenham sessions, after which they relocated to Apple to lay down a proper album. So the tapes I've heard are of mediocre fidelity, and the band's haphazard attempts to conjure George's paean to eternal cycles is marred by fumbling attempts to develop coherent parts on organ and bass by John & Paul, respectively, who fall flat as they repeatedly botch the anticipatory timing on the chorus and miss the bridge altogether — no offense to any of them; they were going through a tough time, as was much of the world that winter.
A version of this song exists with George, Paul & John's chorus vocals and Ringo's explosive drum fills artificially grafted onto George's signature solo version, creating an "Imagine"d version that features an augmented Beatles ensemble.
The bit about the Leary prayer book is news to me, and I find it of particular interest given that George had previously harvested a kernel of inspiration for his song "While My Guitar Gently Weeps" from reading the I Ching, and that a couple years earlier John had derived "Tomorrow Never Knows" from the introduction to Leary's interpretation of the Tibetan Book of the Dead called "The Psychedelic Experience".
Steve Rogers Tuesday 12 September 2017
The Inner Light is also based on the I Ching.
Phil Monday 9 August 2010
The 2002 version at the Concert for George had Paul on lead vocals and acoustic guitar and Ringo on drums. That's the closest we're going to get.
Jeff Saturday 13 November 2010
Both ATMP and "Pity" were Harrison songs that stood up to anything Paul or John offered the Beatles in the later years. It is almost shameful that these songs were not judged on their merits (which would have justified their proper recording/release by the group) and instead were basically discarded due to internal conflicts, space limitations and because George wrote them. Neither John or Paul would concede songs to accomodate George's growing number of superb songs. Abbey Road should have included Something, Here Comes the Sun, All Things Must Pass and possibly Isn't It A Pity. It was a pity that the Beatles showed such disrespect to such fine songs. Thankfully, George got them released on his fantastic solo debut release.
David Harvey Sunday 3 October 2021
That's not very nice to say about John and Paul, because it's not true, and why would they arbitrarily reject songs just because George wrote them? The writing credits and facts don't add up.
Here are some hard facts: a) John and Paul never made any effort to routinely leave George's songs off their albums or be the only writers for the group, b) George always got the songwriting credit on his songs, c) John called "Within You Without You" a great Indian one, d) Paul spoke highly of "The Inner Light" as early as 1968, e) John shared George's dislike of The Hollies' version of "If I Needed Someone" and f) George never tried to jeopardize John and Paul's writing partnership, AFAIK, none of which matches the description of "unsupportive" bandmates.
Journalists and biographers can write what they like, but they can't have their own facts, and I don't believe that John and Paul had a problem with George writing songs per se – they just had to be suitable for inclusion on the records – so for all this nonsense about them being unsupportive of George's songwriting, they never publicly maligned it in the press back in the day.
John himself stated that he encouraged George like mad and both he and Paul liked "Something".
mr. Sun king coming together Saturday 13 November 2010
What would you take off of Abbey Road for All Things Must Pass and Isn't It A Pity.
Kevin Wednesday 29 December 2010
I would substitute ATMP for Maxwell's Silver Hammer, and Isn't It A Pity for I Want You (She's So Heavy).
ian Thursday 1 December 2011
that's madness! I Want You is the best song on abby road!
Randy Coursey Sunday 8 January 2017
Some one's mad Ian, the Madness comes from you if you actually believe "I Want You" is the best song on Abby Road. Something easily is the best song.
Sherese Saturday 24 March 2018
I'm with you, Ian. I'd get rid of Octopus's Garden.
The 2nd best imho – after Something …
JP Tuesday 22 November 2011
If the LP's time-limitations required cutting songs to accomodate Isn't It A Pity and All Things Must Pass, then I would nominate Maxwell's Silver Hammer and Sun King. There is nothing wrong with either song (though Sun King is far better), but IMO, the 2 Harrisongs I mentioned are better. It was clear that George wanted both songs – particularly ATMP – to be Beatles' songs. Any song recorded by the group was money in the bank. Had those songs been properly recorded by the full band, they could have been placed on LPs or on singles and, like the rest of their output, would likely have been well-received and profitable. I guess it's all a matter of personal preference, and who am I to second-guess the Beatles or George Martin. But we all have opinions – and these are mine.
GniknuS Friday 2 December 2011
Well, if you get rid of those songs and assume that neither Harrisong would have been on the B-side, unless you'd put one of the two in between You Never Give…and the medley, that would mean there would be 3 or 4 Harrisongs on the A side, 2 Lennons, 1 McCartney and 1 of Ringo's. You just have to be realistic here, Paul would have the same number of songs on the A side as Ringo, I mean come on. The album worked out fine and the ATMP album was a better one with the inclusion of those two songs.
Michael Saturday 21 October 2017
"Because" would have been a great song to exclude.
Randy Coursey Saturday 31 December 2011
Maxwell's Silver Hammer for one. Then if I were the producer I'd just add the above mentioned songs.
John Engstrom Saturday 31 March 2018
Why take anything off Abbey Road? add it to Let It Be.
Steve D Saturday 26 October 2019
Cheating. But I'd swap Maxwell for ATMP. And put Isn't it a Pity on Get Back, or what later became Let it Be
Michael Fontana Tuesday 28 December 2010
I would remove Maxwell's Silver Hammer in a heartbeat. Perhaps Octupus's Garden as a bonus!
Octopus's Garden? That is one of the best songs on the album. Harrison's guitar shines here!~ Plus it's the only song Ringo wrote and sang on. He actually Co. wrote it with Harrison….
Larry Yates Thursday 28 April 2011
I've seen some who say "All things must pass" was from the Bible, but that doesnt' really make sense. In Matthew, Jesus says,"…these things must COME to pass" which is a different meaning. All things must pass is talking not of things coming but of things going away.
Travis Wednesday 20 July 2011
You would REPLACE the epic, heavy, doom-laden masterpiece that is I Want You(she's so heavy) w Isn't It A Pity? That truly would be a pity. I think a strong argument could be made that "I Want You" represented John's last great attempt at a "symphony to god" to paraphrase Brian Wilson. Never again in his life did he write and record a song with this kind of grandeur and ambition, where he was really aiming at creating something of grand, timeless art. You could say 'Because' but that's same album so hard to say. Isn't It A Pity isn't even as good as "I Need You", which I actually quite like. Def not worthy next to the stuff John and Paul were putting out at the time(although I'll give you Maxwell and ick, Octopus' Garden). Frankly I'm surprised Old Brown Shoe made the cut.
apple_jam Tuesday 1 November 2011
Hey Larry Yates…
Don't know if it's from the bible or not but the line (without the word `must') is in this prayer from St. Theresa of Avila:
"Let nothing disturb you;
Let nothing frighten you,
All things pass away. God never changes.
Patience obtains all things.
He who has God,finds he lacks nothing.
God alone suffices." Buy the way, I love the snippet of this on LIB Naked. The Beatles would have done a beautiful version.
The Nowhereman from Nowhereland Sunday 5 February 2012
God, I love this song. Although the Beatles didn't put it on an album, I still love the version he released on his album. Love you, George!
robert Monday 6 February 2012
I love this album. Love it! And I am so glad the Beatles didn't release any of these tunes – they are perfect George.
If you don't have the Album – get it. If you have listen to it again.
The opening of "Art of Dying" has anyone done anything close since?
(I know this is about the song, not the album – sorry Joe)
Dantespey Monday 25 April 2016
All Things should have a single disc. It is loaded with filler. George's song writing was hit and miss. When he hit it was great, but he mostly missed.
MikeP Saturday 12 January 2019
I fully agree. George could some write wonderful songs, but he wasn't as proficient or prolific at it as John and Paul were. Perhaps should have found a writing partner (?).
Spike Evans Wednesday 13 June 2012
Seems like I read somewhere that George Harrison gave up on attempting to get the other Beatles to take this song seriously after John returned from the using the toilet facilities at the recording studio. John apparently stating, "All things must pass" upon his return…..which pissed off George and he never pushed the song again.
If you watch the new "Get Back" documentary, the four of them are rehearsing "All Things Must Pass" at Twickenham and John is playing the Lowrey organ.
Ig Tuesday 21 August 2012
This song should have been in "Let it Be", not "Abbey Road", I think. Changing ATMP for "Dig it" would be a great choice. This song is too good to be on the medley. Probably this song is better than most song of the A side, but I prefer any Abbey Road song (even Maxwell, which in fact I love) instead of Dig It.
smike Sunday 1 February 2015
ATMP should have opened Ab Rd as a mission statement with The End to say farewell. Something could then be moved to open George's first album – this is clearly a George rather than a Beatles song
Holsety Monday 18 February 2013
It's ironic that they claimed to have a process of ruling out a song not all 4 of them liked.. and yet they all hated Paul's granny songs, and John hated a lot of his own songs..
Robert Friday 16 December 2016
True but Paul's granny songs sold records and made money, and John hated everything so how could one take his comments seriously?
Kalle Tuesday 9 July 2019
So derogatory in calling them granny songs just because John Lennon said it. Talk about monkey see, monkey do, Beatles fans. Ironic that one of the few Beatles songs that real flesh and blood grannies in the sixties actually liked was In My Life. Perhaps Paul hated John's message songs, which he dare not mention for fear of being crucified.
Teddy Salad Monday 30 October 2017
I believe that John mostly hated his own songs in retrospect. After 1970, he was most happy with his "message" songs and therefore disliked anything that "didn't go anywhere."
Zen Monday 24 February 2014
"The lyrics were based on a translation of part of chapter 23 of the Tao Te Ching."
This is the English translation of chapter 23 Timothy Learys words could only be said to have been a reflection of that idea and not a translation.
*23. Words
Nature says only a few words:
High wind does not last long,
Nor does heavy rain.
If nature's words do not last
Why should those of man?
Who accepts harmony, becomes harmonious.
Who accepts loss, becomes lost.
For who accepts harmony, the Way harmonizes with him,
And who accepts loss, the Way cannot find.*
Jack Friday 18 September 2015
The question ' why were ATMP and IIAP' not on Abbey Road should be replaced by why were ATMP and IIAP not on Let it Be more like.
Graham Paterson Tuesday 12 January 2016
This is a powerful George Harrison composition. "All Things Must Pass", "Isn't It A Pity" etc would have made The Beatles last couple of albums stronger. I agree with what others are saying, but the plus side is that the"All Things Must Pass" album became the masterpiece that it is because of these and other great songs inclusions.It was turned to George's advantage as he was up against it with the power structure the way it was in the band. As someone else said, "Not Guilty" another great track not included.This was not released until 1979's "George Harrison" album. "All Things Must Pass" and "Beware of Darkness" are two of my favorite George Harrison songs.
Silly Girl Wednesday 13 January 2016
I think it's rather fortunate that the Beatles turned it down, even though I can't fathom why. This way, we get a great Harrisong (and a nice title for a great album) instead of some odd B-side or something that no one hears. They might have come to their senses and made it a single, but then again, they might not. And considering their past propensity for not really bothering with George's songs, it's possible that they wouldn't really have bothered with ATMP. Which is why I'd rather have a wonderful solo ATMP than a poorly recorded Beatles ATMP.
Anthony Polson Saturday 30 January 2016
I think it's pointless discussing which songs should have been left off any Beatles album, they are as they were meant to be and all 3 Beatles solo efforts benefited from the Beatles not using their songs, especially George. As much as i love George's songs the reality is the band was built primary around Lennon / McCartney songs with George not significantly contributing until their 5th and 6th albums, by which time the Beatles had made it and were still on the way up, therefore it became habbit mixed with ego that kept George to around 2 songs per album, and as good as George became, he really only got there after Lennon / McCartney paved the way, by the time George was blossoming Lennon was damaged goods, and like McCartney and his ego or not, he more or less dragged them into the studio, had his finger on London's pulse, and wrote the vast majority of the big A side singles which helped the Beatles stay on top of the world so to speak…i can't imagine Abbey Road without I Want You, I have converted many people to the the Beatles with this song…Maxwell…i loved it as a young teenager, now at 45 I'm not add into it but admire it for its sound and example of how diverse the Beatles were & how the Beatles sounded different when Lennon didn't contribute to recording sessions.
Matthew Monday 25 April 2016
In pace and mood, and maybe even its chord structure, 'All Things Must Pass' sounds quite similar to 'Let It Be'. The actual tunes and sentiments are quite different of course. I really enjoy both songs.
Robert Saturday 3 September 2016
Great song and a great album by George. Probably a perfect insight into George's handling of his own eventual death. Supposedly Ringo or Paul came to visit George expressing their sympathy and George told his former bandmate that it was okay, it's (his body) only a shell. Hope I can be half as brave before I leave this existence.
Davey Tuesday 29 November 2016
Disagree that GH's album "All Things Must Pass" is filled with filler. I think it's the best solo album that any Beatle ever released, and a lot of Beatles fans feel the same. I would've placed this song and Pity on Let It Be. I actually think both tracks are better than I Me Mine and For You Blue. Same thing with Old Brown Shoe, which for me is the most underrated Beatles track ever.
J Neo Marvin Friday 14 April 2017
I would put All Things Must Pass in place of The Long And Winding Road. Paul could then put a beautiful stripped down version on the McCartney album.
Kathy B. Wednesday 24 May 2017
Thank you for mentioning George's age here. When I think of how young they still were (especially George) when they broke up, I am am even more amazed at the immense volume of wonderful music they made together in a relatively short time.
Paul Friday 12 January 2018
While it might have been for the Beatles to have included more of George's songs, the upside was that he had a stockpile of great songs when it came time to start his solo career. Also, I can't really see the Beatles topping the majestic version of this song that appears on the ATMP album.
Might have been better for the Beatles, I mean
Mikey C Wednesday 17 June 2020
Agreed, it worked out brilliantly for George's solo career as he had all these great songs ready to go in 1970, whereas Paul had little left in the locker.
I fully agree. George could write some wonderful songs, but he wasn't as proficient or prolific at it as John and Paul were. Perhaps should have found a writing partner (?).
Pablo Fanque Saturday 29 June 2019
Why is this song even mentioned on this site since it wasn't a Beatles song?
Joe Monday 8 July 2019
Because it's on a Beatles album (Anthology 3), recorded while Harrison was in the Beatles. There's also an All Things Must Pass page about Harrison's solo, post-Beatles, recording.
Dan L Monday 13 January 2020
To be honest — and I know it's in the face of prevailing opinion here — I always found "All Things Must Pass" rather dull and ponderous. Perhaps a faster tempo and edgier sound might have brought it around?
Now, "Beware of Darkness," "What Is Life?," "Blow Away" — what epic Beatle songs those would have been!
Bohucka Wednesday 12 January 2022
Like George, I would have loved to have heard Levon Helm's take on this. That guy could sing the phone book and make it sound real.


Pre-Cut Letters and Numbers are pre-aligned and ready to heat press or embroider onto your athletic jersey. Order numbers 0–9 and letters A–Z. Available in HTV Sports Film, HTV Flex Film, Sports Twill, Sports Felt, Sports Flock, Sports Grip, HTV Foil and Holographic HTV. Questions or concerns? Send an email to sales@twillusa.com with your information attached or call (866) 806-9120 for immediate assistance.
We offer Pre-Cut Letters and Numbers in the following fabrics and HTV materials: Sports Twill, Metallic Twill, Fashion Fabrics, Sports Felt, Sports Film, HTV Glitter, Flex Film and HTV Foil. Some materials offer several adhesive backing options, including Polyback, PSA, Permanent, PSA Permanent and Uncoated. NOTE: Some materials cannot be layered together and/or may not be used as a Background layer.
Pre-Cut Letters and Numbers can be layered with different colors and materials. Please select the Background, Middleground and Foreground colors, as well as additional colors in the extra fields below if you're Sublimating the design.
Enter the number of pieces per letter or number desired in the corresponding quantity field below.
Upload a specific font or typeface (if applicable). Please include any files in .tff, .ai, .eps, .jpeg, .png or .pdf formats.
What Are Pre-Cut Letters and Numbers?
Pre-Spaced Letters and Numbers are pre-aligned and ready to heat press or embroider onto your athletic jersey. Order numbers 0–99 and letters A–Z. Available in HTV Sports Film, HTV Flex Film, Sports Twill, Sports Felt, Sports Flock, Sports Grip, HTV Foil and Holographic HTV. Sometimes referred to as "Loose Letters and Numbers," our Pre-Cut Letters and Numbers can be customized and cut to a specific size, material, color, adhesive backing and font type. Sold individually.
How Much Do The Letters and Numbers Cost?
The price chart below shows the cost for Standard Fonts and Specialty Fonts for both Numbers and Letters. For quick reference, Full Block and Plain Block are considered Standard Fonts, and are the most popular. All other typesets are considered Specialty Fonts, including Collegiate, Tiffany, USA and Wedge. There are no order minimums for this product. Prices are calculated per piece with no discounts for bulk orders.
Most designs range from 2″ to 12" max, as the material begins to wrap around the body if it is any larger. For reference, football jersey lettering usually has a 10″ number on the front, 12″ on the back, and 4″ numbers on the shoulders. Please review the size charts below to better estimate the cost of your project when referencing the Pre-Cut Letters and Numbers Price Guide above.
Can You Embroider My Jersey For Me?
We do not offer embroidery services as the applique is designed to replace and enhance the embroidered look. We do offer sew files (at additional cost) so that the edges can be sewn down onto the garment(s). One color sew files are $25. Two color sew files are $30. Three color sew files are $35.
Yes. An artwork proof is generated automatically with your request. The first three proofs are included with the price of the design. Additional proofs are charged at $10 each. Production begins once the proof is approved and signed. NOTE: Read the proof sheet carefully. Once your signature is received, confirming the proof is correct, the order will be non-returnable / non-refundable.
How Long Do The Pre-Cut Letters and Numbers Last On Garments?
All of our fabrics and films have been tested up to 50 wash and dry cycles.
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We create an artwork proof of the design and confirm the price and quantity via email, usually within one business day. Bear in mind additional re-proofs will extend the pre-production time of your project. Once the proof is approved and signed by the customer, the production time is approximately 1-2 business days.
What Kinds of Materials Are Used To Produce Pre-Cut Letters and Numbers?
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There are no order minimums for Pre-Cut Letters and Numbers. You can place an order for a single number or 1,000. Prices are calculated per piece, and bulk discounts do not apply.


Learning about the risks associated with a CDH1 gene mutation can be frightening and overwhelming. However, we believe that being proactive and making informed decisions about your health care is empowering as well as life-saving. Here we will provide you with information, guidance and resources to help you through the genetic counseling and testing process.
E-cadherin is a protein – encoded by the CDH1 gene. This is an image of the structure of the E-cadherin protein chain which bends and turns. The normal function of the E-cadherin protein is to allow cells and tissues to adhere to one another in a normal fashion.
One of the genes in our body is called CDH1. It is located on chromosome 16, and when it is functioning properly it provides instructions for our cells to make the e-cadherin protein, and allows cells to adhere to one another in an orderly manner. Hereditary Diffuse Gastric Cancer (HDGC) syndrome is sometimes caused by an inherited mutation (or error) in the CDH1 gene. This mutation interferes with the normal function of the e-cadherin protein and can result in cancer.
Everyone has two copies of the CDH1 gene — one copy inherited from their mother and one copy inherited from their father. If one of these CDH1 genes has a pathogenic mutation, this means the person has Hereditary Diffuse Gastric Cancer (HDGC) syndrome. If someone has HDGC, each of their offspring has a 50% chance of inheriting the mutated CDH1 gene, and an equal 50% chance of NOT inheriting the mutated CDH1 gene. It is a 50/50 chance per individual, not per all family members. The process is completely random.


text:
The women's 200 metre individual medley event at the 2016 Summer Olympics took place on 8–9 August at the Olympic Aquatics Stadium.

Summary
Another medley double happened for the sixth straight time, as Hungary's Katinka Hosszú pulled away from the field to collect her third individual Olympic gold at these Games. Leading from the start, she threw down a gold-medal time in 2:06.58 to establish a new Olympic record, and to hold off a charging Great Britain's Siobhan-Marie O'Connor by three tenths of a second. Unable to catch the Hungarian towards a sprint finish, O'Connor produced a new British record of 2:06.88 to take home the silver. Meanwhile, U.S. swimmer Maya DiRado added a bronze to her runner-up prize from the 400 m individual medley three days earlier with a time of 2:08.79, edging out her teammate Melanie Margalis (2:09.21) to fourth by almost half a second.

Australia's Alicia Coutts, silver medalist from London 2012, culminated her Olympic career with a fifth-place time in 2:10.88, and was shortly followed in sixth by Canadian swimmer Sydney Pickrem (2:11.22). Russia's Viktoriya Andreeva (2:12.28), and defending gold medalist Ye Shiwen of China (2:13.56) closed out the field.

Hosszú also posted an Olympic record in 2:07.45 to lead all swimmers on the morning prelims, clipping 0.12 seconds off the previous mark set by Ye Shiwen in London four years earlier.

In the medal ceremony, the medals for the competition were presented by Pál Schmitt, Hungary, IOC member, and the gifts were presented by Mohamed Diop, Senegal, Bureau Member of FINA.

Records
Before this competition, the existing world and Olympic records were as follows.

The following records were established during the competition:

Competition format

The competition consisted of three rounds: heats, semifinals, and a final. The swimmers with the best 16 times in the heats advanced to the semifinals. The swimmers with the best 8 times in the semifinals advanced to the final. Swim-offs were used as necessary to break ties for advancement to the next round.

Results

Heats

Semifinals

Semifinal 1

Semifinal 2

Final

References

Women's 00200 metre individual medley
Olympics
2016 in women's swimming
Women's events at the 2016 Summer Olympics

redpajama_set_name: RedPajamaWikipedia


text:
Father, son charged with possession of child pornography
ABINGTON TWP., PA (WTXF) - Authorities in Montgomery County have announced child pornography charges against a father and son in Abington Township.
Harry F. Ennis, 68, and his son, 29-year-old Patrick H. Ennis, are facing felony charges related to sexual abuse of children and child pornography.
Officials say their investigation began back in April when the National Center for Missing and Exploited Children received a tip about 27 images being uploaded to a site that appeared to be child pornography.
Investigators tracked the IP address to the Ennis' home on Edge Hill Road, and executed a search warrant. The 27 files were found to have been uploaded from a computer in Patrick's bedroom. A computer and other electronic devices were also seized from Harry's office.
A search of the computers seized from Harry Ennis' office revealed more than 600 sexually explicit images files and two videos. The files were determined to depict children under the age of 18 in sexual acts or poses.
Patrick Ennis was arrested and charged with sexual abuse of children/dissemination, child pornography, and criminal use of communications. He was released after posting $25,000 cash bail.
Harry Ennis was charged with 100 counts of sexual abuse of children/child pornography and failed to post $75,000 cash bail.
A joint preliminary hearing was set for August 24 th .
Parents charged in death of teen who died from emaciation, allegedly abused two other children
Police searching for Maleah Davis say body of child found
Police investigate fatal accident in Rose Valley
Same-sex couple says they were booted from Uber for kissing


text:
Q: How to Parse YAML with arbitrary keys I'm trying to read in a YAML file similar to how I've done in Python. But I can't figure out how to use arbitrary keys.
I have the following YAML that I would like to read:
apple:
  name: item1
banana:
  name: item2

I know how to read in the file, but only using empty interfaces. I'd like to read it in as a map to my Item type.
package main

import (
    "fmt"
    "log"
    "gopkg.in/yaml.v2"
)

type Item struct {
    Name string `yaml:"name"`
}

func main() {
    input := `
  apple:
    name: item1
  banana:
    name: item2`

    m := make(map[interface{}]interface{})

    err := yaml.Unmarshal([]byte(input), &m)
    if err != nil {
        log.Fatalf("error: %v", err)
    }
    fmt.Printf("%v \n", m)
}

What I'm getting in Stdout:
map[apple:map[name:item1] banana:map[name:item2]]

What I would like to see is:
map[apple:{item1} banana:{item2}]

How can I read my YAML file into a map of Item(s)?

A: For unmarshaling to work the way you want, you should provide the instruction. In your case if you do not want to name to be in a map provide a struct to unmarshal.
so m := make(map[interface{}]interface{}) should change to m := make(map[string]Item)
package main

import (
    "fmt"
    "log"
    "gopkg.in/yaml.v2"
)

type Item struct {
    Name string `yaml:"name"`
}

func main() {
    input := `
  apple:
    name: item1
  banana:
    name: item2`

    m := make(map[string]Item)

    err := yaml.Unmarshal([]byte(input), &m)
    if err != nil {
        log.Fatalf("error: %v", err)
    }
    fmt.Printf("%v \n", m)
}

Output: map[apple:{item1} banana:{item2}]

A: You should use m := make(map[string]Item).


Now that you've recharged your batteries, it's time to get planning! With Valentine's, Pancake Day, Mother's Day and Easter, the spring term offers some great opportunities for seasonal school fundraising.
The printed magazine arrives in school offices on 5 January, so look out for it then. In the meantime, enjoy the digital edition of the spring issue and remember to share this with the rest of your committee - you never know what they might be inspired to try!
Never miss an issue! To subscribe to PTA+ magazine click here. Subscriptions start from just £12 a year.


text:
Home 10 Unusual Fast-Food Menu Items You Could Order 20 Years Ago
10 Unusual Fast-Food Menu Items You Could Order 20 Years Ago
Students of Federal Polytechnic Oko make plenty money rain on Brain Jotter [Video]
In many ways, things aren't all that different today than they were 20 years ago. Sure, all of us now have handheld smart devices that connect us to the world at all times, electric cars have gone mainstream, and we're ordering online and getting fast food delivered more than ever before. But when it comes to our favorite restaurant chains, more things are surprisingly similar than they are different compared to 20 years ago.
For instance, Big Macs and Whoppers are still big on McDonald's and Burger King's menus, respectively, and fries will always be important. But many things have changed at fast-food restaurants and quite a few unusual and old-school menu items have disappeared.
After all, at McDonald's in 2002, you could still Supersize an order, because no one had yet said out loud that massive servings of fries and buckets of soda are a bad idea. Arby's was popular and not in an ironic way, either. And Shake Shack? It was still two years from even being founded.
Another thing that has changed in 20 years is some of the menu items you could get then, that are distant memories today. Now let's look at ten unusual things you could order at a fast-food restaurant two decades ago.
RELATED: 12 Best Fast-Food Burgers, According to Chefs
Sometime in 2002, someone at Burger King got the idea to incorporate the kind of dehydrated cheese powder you use in instant mac and cheese with BK fries. Per Mashed, the method was this: customers dump fries into a bag, then pour in the cheese powder, then shake the bag to coat the fries, creating cheesy fries. The results, however, were pretty gross. And the sales spoke to that. The commercial was fun though.
RELATED: Burger King Is Upgrading This Crucial Sandwich Staple
Courtesy of McDonald's
From the mid-1990s up until 2003, you could get a pretty spicy chicken wing at McDonald's. As in a regular bone-in chicken wing. The problem was that not too many McD's customers could handle the level of spice, thus the removal of these wings. Per Business Insider, 10 years later, in 2013, the chain tried to revive Mighty Wings only to again see them fail.
Pizza Hut/Facebook
This hybrid pizza-calzone creation was born at The Hut in 2002. It made a brief return to menus in 2019 but was dropped again in 2021. Word is that they just didn't sell very well despite the hype surrounding them. Also, some critics said that Pizza Hut was trying to reinvent the calzone which, of course, had existed in neighborhood pizza restaurants for years.
YouTube/Rtrt67
Introduced in the late 1990s, Wendy's Fresh Stuffed Pitas found many fans. They came in flavors like Classic Greek, Garden Veggie, and Chicken Caesar, per Mashed, and were essentially a salad tucked into soft, warm pita bread. Popular though these sandwiches were with many, they just weren't profitable, so the chain axed them by the early 2000s.
The bizarre thing about the McDonald's Dollar Menu was that, when it debuted in the year 2002, the items on said menu actually did cost one dollar. You could get fries, a pair of pies, a burger, a chicken sandwich, a drink, or a few other items for just one buck. It proved a hit with customers but cost the company financially, so within a few short years, the Dollar Menu had been edged out by things like the $1 $2 $3 Dollar Menu or the Dollar Menu & More, which basically meant more money.
Kimberly J. / Yelp
20 years ago, you could walk into a Sonic (or drive up to one or use the drive-thru, of course) and order some Pickle-O's, a sack filled with breaded, deep-fried pickle slices. While that particular side has been off the menu for years, you can still get fried pickles at many Sonic Drive-Ins, you just need to ask specifically and have them prepared fresh.
Yes, that's right, back in the year 2002, McDonald's briefly offered miniature corn dogs. As in hotdog bits coated in a corn batter and then deep-fried to perfection. They lasted a very short period of time and it was no surprise there, back then or now.6254a4d1642c605c54bf1cab17d50f1e
Burger King / Twitter
Introduced in 1998 and discontinued by the early 2000s, these warm, sweet, gooey little spirals of dough were a huge hit with many Burger King fans. So much so, in fact, that the chain brought them back for a very limited run in 2018. Why the double discontinuation? Because BK Cini Minis never managed to catch on broadly beyond that small but dedicated customer core.
RELATED: Battle of the Italian Chicken Sandwiches: Wendy's vs. Burger King
AnalogMemories/YouTube
The strangest thing about the McSalad Shakers from McDonald's is how quickly they disappeared given that they were an on-brand alternative to burgers and chicken sandwiches and fries. Highly portable and affordable, these shaken salads appeared on the menu in the year 2000 but by 2003, they were gone again, and for good. In 2022, as we know, there are no salads at all at McD's anymore.
Chicken Selects were grown-up chicken nuggets. They were unusual for the time because they were all-white meat chicken with the crunch of good chicken fingers. These beauties debuted in 2002 as a limited-time offering and were a permanent menu item for over ten years. But, while they were popular, they didn't sell as well as the chicken nuggets because of the price point. After a few attempts to bring them back, as Buttermilk Crispy Tenders, they have disappeared from U.S. menus.
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Questions about the design and assessment codes which have been raised previously and solutions found.
These are not definitive solutions, but are presented for guidance and discussion.
Click onto the Standard in the tables below to connect to the relevant workshop page.


Genix Health IT is an IT solution provider for various requirements in the Healthcare industry. It provides the products and solutions which would help Hospitals to empower clinicians for better patient care, engage patient for health & wellness and for operational efficiency thereby increasing their revenue by providing quality care.
Profound digital transformation of hospitals and clinics to leverage the opportunities through digital technologies.
Patient Centric is a strategy to keep the patients in the center of quality healthcare and thus increasing their loyalty towards your hospital.
To solve a given problem various applications, hardware and data are brought together as an inter-related system.
Process of inspecting, transforming and modeling data to discover useful information and support decision-making.
Genix's Karesmart has transformed the way we provide healthcare to our patients. It takes care of our hospital management and helps us in providing quality healthcare.
Project Wonder received a Catalyst Award in Boston with HP Inc.
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I recently made this dish for a a Kentucky Derby party and it was a huge hit. I posted my process on my Insta Stories and had a lot of people asking for the recipe so here you go!
Note: the pictures below show me preparing to make 2 batches (one with the brussel spouts and bacon and one plain mac and cheese).
You can also make this recipe without the brussel sprouts and bacon, just omit those ingredients and follow the rest of the recipe the same.
1. Heat large pot of water until boiling and then add pasta. Cook according to directions on box, or until al dente. Drain in colander and reserve until cheese sauce is ready.
2. While pasta is cooking heat a large skillet, on medium high and add chopped bacon. Cook until desired level of crispiness ( I recommend on the crispier side for this recipe). Using a slotted spoon remove cooked bacon from pan and place on a plate lined with paper towels.
3. Carefully scoop out (into a small bowl and then discard) all but about 2-3 tablespoons of the melted bacon fat from the frying pan. Turn heat back on to medium and carefully add the brussel sprouts to the bacon fat. Add salt and pepper. I cover the brussels sprouts to get them to soften more quickly. Every couple of minutes remove the cover and give them a stir. Once soft keep the cover off and saute until they have brown crispy edges. Turn off heat.
4. In a large dutch oven/pot, melt butter over medium to medium-high heat. Add chopped onion. Saute onion until softened but not brown.
5. Add the flour. Lower heat to medium, medium low and cook the flour until brown, about 5-6 minutes.
5. Add the 4 cups of milk and stir until no longer lumpy. Keep heat on medium to medium high and stir continuously. While stirring, add the mustard powder and worchestire sauce. Cook until mixture starts to bubble and thicken. TURN OFF HEAT.
6. Add the shredded cheese and stir until it is all melted and incorporated.
7. Add cooked pasta to the cheese mixture. Fold until covered.
8. Fold in brussel sprouts and bacon pieces.
9. Dump pasta into a 9x13 baking pan ((I love my glass Pyrex, or aluminum foil trays like pictured below if you are bringing to a party) that is sprayed with cooking spray.
10. Sprinkle the top with the crumbled up Ritz crackers.
11. Before you are ready to serve, pop in a 350 degree oven for 10-15 minutes, or you can just broil on low to make the top crispy. DO NOT OVER COOK, I think over baking dries out the sauce.
P.S. This is actually my own recipe that is a mash up of a different mac and cheese recipes that I have tried. I had bacon and brussel sprouts mac and cheese at a restaurant one night and decided to give it a whirl at home. This is always a big hit whenever I make it, and sinfully good. I hope you try it and enjoy!!


text:
Immigrant Men Terrorize Women in Paris
The 2007 riots in Paris, seen here, received a lot more media attention, but the problems have been ongoing.
Did you see any news about the tumultuous riots in France in February on CNN? MSNBC? Even Fox News? Unlikely. Violence between the immigrant communities and the police has become so common in France it's barely worth a mention on the American cable news networks. In February, after allegations of police brutality the immigrant communities around France were turned into "no-go zones," as in, don't go there if you want to live. Here's some video of the chaos from Express:
But the fear French citizens feel isn't contained to nights of riots. French women are harassed every day as they pass through "no-go zones." Crowds of immigrant men are known to verbally and even sexually abuse French women passing through these areas. Fed up with the poor treatment and the lack of action from the inept French government, women have begun to protest. Heat Street writes:
Women in Paris have been protesting against 'no go zones' where immigrants from Asia and Africa pester and abuse them.
It's claimed the district of Chapelle-Pajol, in the north east of the French capital, has become more dangerous for women as the rate of immigration there grows. Large groups of men are said to hang around in the streets, sometimes drinking, and often intimidate women.
One 80-year-old woman from the district has even said she was sexually assaulted walking home one night.
Others have complained about catcalls and verbal abuse, which makes them feel unsafe.
Dozens turned out to protest against the so-called 'no go zones' on Friday. 'The problems in the area are real,' Clare Rougy, one of the demonstrators, told The Local.
No Go Zones for women in France
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