text:
Biden Has Earned 11 Pinocchios From Fact-Checkers During Coronavirus Crisis
Graham Piro
Bloomberg Spending Hundreds of Millions on Data-Centric Operation to Defeat Trump
Michael Bloomberg / Getty Images
David Rutz
Former New York City Mayor Michael Bloomberg may not run for president, but he's building a powerful political data organization with the goal of defeating President Donald Trump in 2020.
Bloomberg, one of the wealthiest people in the country with a net worth of nearly $50 billion, is mulling a bid for the White House in what could be the most crowded Democratic presidential primary field ever. Bloomberg, as a fallback, is pouring "hundreds of millions of dollars into a data-centric political organization" to beat Trump, focusing on new ways to identify new voters and turn them out, the Atlantic reports.
Though a budget has not been set, this effort would almost certainly become the biggest and most powerful political organization in the country overnight. It would also be the only real counter to the operation that Trump's campaign put together in 2016, which reached out to millions of voters in a more targeted, under-the-radar way, and helped deliver the election to Trump by shaping voters' thinking for months and then activating them on Election Day.
The goal, as it's been put at points in private meetings: "All the data."
Bloomberg's advisers said they don't believe he would run for president if former Vice President Joe Biden jumps into the race. While both he and Biden are liberals, they are viewed as more moderate than the top contenders who have already announced their bids or formed exploratory committees, such as Sens. Elizabeth Warren (D., Mass.), Kamala Harris (D., Calif.) and Kirsten Gillibrand (D., N.Y.).
Although he hasn't decided whether to run, he's been active, criticizing ex-Starbucks CEO Howard Schultz for launching a potential independent run, touting his credentials fighting gun rights and climate change, and visiting New Hampshire this week.
Bloomberg began his career as a Democrat, then switched to the Republican Party to run for mayor in 2001, was reelected, became an independent, was reelected again, and then became a Democrat again last year. He spent more than $100 million on the 2018 midterms to boost Democrats in their ultimately successful efforts to recapture the House majority.
He endorsed Hillary Clinton in 2016 and spoke at the Democratic National Convention, calling Trump a "dangerous demagogue."
Published under: 2020 Election , Donald Trump , Joe Biden , Michael Bloomberg


Senior trial lawyer Ryan A. Margulis was admitted to the Bar of the Supreme Court of the United States in a ceremony held at the Supreme Court in Washington, D.C. on June 3, 2013.
Mr. Margulis is a recognized trial advocate at Seidman Margulis & Fairman, LLP in downtown Chicago. He has more than a decade of experience focused on representing injury victims in serious personal injury and workers' compensation matters. Now, Mr. Margulis has the ability to represent clients in appeals before the U.S. Supreme Court.
There are certain requirements that applicants must meet to be admitted to the U.S. Supreme Court. Applicants must have been admitted to practice before the highest court of a State, Commonwealth, Territory or Possession for at least three years prior to the application; must be free from disciplinary action during that time; and must be of good moral and professional character.
In addition to his admission to the United States Supreme Court, Ryan Margulis is licensed to practice before the State of Illinois, the U.S. District Court for the Northern District of Illinois, the U.S. District Court for the Central District of Illinois Trial Bar and the United States Court of Appeals for the Seventh Circuit.
For more information about Mr. Margulis or Seidman Margulis & Fairman, LLP, or to speak with an experienced attorney about your injury case, click here or call 888-837-3275.


text:
Tips for Running a Disney Race
December 31, 2015 August 23, 2020 / Yale Wanders
Some people may think dressing in character and running around Disney is silly, but as Walt said, "That's the real trouble with the world. Too many people grow up."
Plus, the best reason to do a Disney race? Visiting the parks afterwards!
Running a Disney race is unlike a typical road race. I've done quite a few Disney races and can tell you first hand, they're all about the experience.
How Disney races I've run have stacked up for me:
Walt Disney World Marathon Weekend: I did the 10k and half marathon in 2016, and ran the full marathon in 2014. The marathon experience was great and served as a catalyst for me getting back into running Disney events. However, while I liked these races, they didn't hold the same magic as my favorite runDisney event does- the Princess Half
Tinkerbell Half Marathon Weekend: Held on Mother's Day in 2015, I enjoyed running with other runners dressed as princesses or fairies. However, I did enjoy the 2014 Disneyland Half Marathon course more- it felt like we were in the parks longer and we ran through the Angels stadium. Overall, I'm hesitant to do another Disney race in California because travel costs are higher than in Florida (cross-country plane ticket, fewer resort/hotel options, crowding more people into a smaller space, etc.)
Disneyland Half Marathon Weekend: Ran the half in August 2014 and really enjoyed the experience. Loved the course at the time, not sure if it's still the same, but there's also something to be said for the level of support from the town of Anaheim- really motivating!
Wine & Dine Half Marathon Weekend: I did this race in 2015 when severe weather cut the course short by 6 miles and resulted in some pretty frustrating organization issues. While we didn't get to run the half distance, the after-party at the Wine & Dine Food Festival was still a lot of fun. I'd give this race another chance- it feels less "Disney" than some of the other themed runs, but it's fun in its own way. And, you can't beat a race that ends with wine and food bites from around the world!
Princess Half Marathon Weekend: After running the half marathon for the first time in 2012, doing the Glass Slipper Challenge in 2015, and running the half again in 2017, I can honestly say this Disney race is my favorite. The course goes through the Magic Kingdom and Epcot, and there may be a lot of highway in between, but there's also a lot of spirit from other runners and Disney's entertainment. Also, I loooove that so many people dress up as the different princesses for this event (including men in tutus!)
The Twilight Zone Tower of Terror 10 Miler: Sadly this nighttime run through Walt Disney World, ending in Hollywood Studios with a villain themed after-party is no longer offered. If it was, I'd definitely recommend doing it- I ran it in 2014 and loved the experience
The Star Wars Half Marathon Weekend & Disneyland Paris Half Marathon are both on my list of races I'd like to do in the next two years
Tips for Running a Disney Race:
Choosing to run a Disney race is really about expectation setting. When you look at runDisney's site, it's easy to get caught up in what your experience will be like: Pictures of runners high-fiving characters, confetti tossed at the finish line. The truth: Unless you're the first to finish, it's going to be just like any other race finish, and there will likely be lines to take a photo with characters. Don't expect it to be a perfect experience. Go into it with the mindset of having fun.
Plan early, entry feels go on sale 6-8 months before the races and usually sell out within hours or days. The Disneyland Half Marathon weekend sold out in a single day, and the Princess Half Marathon has been known to sell out in hours. Registration fees are also pricey, so start saving early.
Most Disney races start early (5 am), so I recommend staying at a host resort or a good neighbor hotel the night before the race. WDW provides buses to the start line/from the finish line back to the hotel, so it's one less thing you need to worry about. At my first Disney race, I stayed with friends in Orlando and tried driving to the start. My friends live 20 minutes from Disney and we sat in traffic for almost 2 hours on the way there.
Whether it's your first race or ninth, take advantage of the training plans Disney offers.
If you're flying, pack your running gear in a carry-on bag so you have it when you land.
Since Disney races start so early, it's often chilly at the start line. Bring warm clothes (garbage bags work well) to take off when you start running. Disney donates clothes left behind to charity.
Experience is what sets a Disney race apart. Yes, you'll likely pay a lot of money in registration and travel fees (not to mention cost for hotels or time spent in the parks), but the expos are some of the best I've ever attended, the medals are beautiful and t-shirts are top quality. There's also great on-course entertainment, and something to be said for the level of organization throughout (it's top-notch).
Wear a costume or at least a fun running outfit. Trust me, everyone runs in tutus or dressed as characters. Pinterest is go-to for inspiration, but I like this Etsy shop for ordering character skirts, this Etsy shop for custom mouse ears, and this store for wings/sparkling skirts.
Try to get to the expo on the first day it's open. They're great expos, but usually pretty crowded and official race merchandise sells out quickly.
If you're checking a bag at the race, dry socks and a shirt change can make the post-race experience much more enjoyable (especially if you're running one of the nighttime races and going to the after-party).
Take pictures with the course characters. Make sure you have your phone and camera ready, stay charged throughout the race with a back-up battery.
Spend some time at the finish line– Disney provides water, Powerade and a box of snacks. There are also fun photo opps with characters.
More so than at other races, Disney runners are so encouraging. My first half marathon was the Disney Princess half in 2012. Around mile 9, I just wanted to sit down and give up. The runners around me wouldn't let that happen. Even though I didn't know any of them, they challenged me to run with them when I slowed to a walk.
Don't forget your confidence. When in doubt, I always tell myself: The voice in your head that says you can't do this is a LIAR.
Obviously, you'll be bringing a photo ID and running clothes/shoes, but there are a few other things I bring to every race: energy gels (obsessed with these salted caramel gels); hydration belt; mini foam roller; headphones, sunscreen, chapstick; flip flops to change into post-race.
^Will run for dole whip. 😉
24 Hours in Key West
Weekend Getaway: Miami
The Most Magical Time to Wear Ears: Christmas at Disney
Where to Drink in Disney World
Where to Eat and Drink in Austin, Texas
The Coolest Weekend in Marfa, Texas
5 Things to do in New Orleans
A Perfect Day in New Orleans
The Ultimate Weekend Getaway: 3 Days in NOLA
The Ultimate Guide: Weekend in Charleston, South Carolina
Where to Eat & Drink in Charleston
10 of My Favorite Cities in the United States
#Feature, Adventure, California, Disneyland, Explore, Florida, half marathon, race, racing, runDisney, running, Solo Travel, training, Travel, Vacation, Wanderlust, WDW
← About 'Yale Wanders'
24 Hours in Big Sur →
A Whirlwind Weekend in Cologne

redpajama_set_name: RedPajamaCommonCrawl


Movie of Israeli Occupation Forces shooting an unarmed man in the streets. Spread this far and wide and let the truth be heard!
The Grassroots Infrastructure Charitable Foundation is an example of one possible way to prevent your home from becoming a mere commodity in the real estate market when you die. This, or similar arrangements may be available to many individuals who want to benefit from their homes as long as they live and to have their property serve socially useful purposes after they die, rather than be turned into a commodity for real estate speculation, as so often happens in the United States where children settle in other parts of the country and have no interest in returning to live in their deceased parents� home.
Telling off all these idiots who claimed to support the working man, environment, the poor, the mentally ill, the environment, minorities, women, youth, etc.


The Gratitude Club seeks to provide a welcoming environment for individuals to maintain and promote recovery. We are proud to provide an opportunity to explore factors that enable us to continue our tradition. Join us at the club for this lunch and learn to raise awareness and breakdown the stigma surrounding Mental Health.


Stuart Poage is a Board Certified Construction Attorney and office-managing shareholder at Kubicki Draper's Tallahassee office. He is also admitted on the American Arbitration Association's Construction Arbitration Panel. Stuart arbitrates matters throughout Florida and in Georgia, and he is licensed to practice law in Florida, Georgia and Kentucky state and federal courts.
Stuart's practice areas include construction defects, premises liability, product defects, automobile and trucking accidents, as well as complex civil litigation including wrongful death claims and property disputes. During his legal career, he has worked for and on behalf of both insurance companies and individual corporate entities in additional areas of law including worker's compensation, disability claims, and federal black lung litigation. In his spare time he enjoys running marathons, playing golf and spending time with his wife Stacey and their two children Alexa and Ryan.


text:
TEST: A Film by Chris Mason Johnson with Choreography by Sidra Bell
Sidra Bell (Sidra Bell Dance New York)
Select Theaters and Locations throughout USA (See schedule below)
Friday, June 13, 2014 - 8:00pm
June 13th - Quad Movie Theater (New York City)
New York, NY - JUNE 2014
Contact: sbdnypress@gmail.com / (212) 567-0411
Trailer: https://www.youtube.com/watch?v=FdIFfUVMkrQ
"Excellent, gripping, surprisingly funny and beautifully shot." — Out Magazine
Grand Jury Award — Best Screenplay and Best U.S. Dramatic Feature, Outfest
Set in the free-spirited San Francisco of 1985, Chris Mason Johnson's Test lovingly portrays this exciting and harrowing era as young Frankie (dancer Scott Marlowe in a breakout acting debut) confronts the challenges of being an understudy in a modern dance company where he's taunted to "dance like a man!" Frankie embarks on a budding relationship with hunky Todd (Matthew Risch, HBO's "Looking"), a veteran dancer in the same company and the bad boy to Frankie's naiveté. As Frankie and Todd's friendship deepens, they navigate a world of risk — it's the early years of the epidemic — but also a world of hope, humor, visual beauty and musical relief.
The captivating dance sequences were especially choreographed for the film by acclaimed U.S. choreographer Sidra Bell. The film's vibrant soundtrack includes work by '80s icons Jimmy Somerville (Bronski Beat), Klaus Nomi, Romeo Void, Laurie Anderson, Martha and the Muffins, Cocteau Twins and Sylvester.
Test is a beautiful new gay drama from writer-director Chris Mason Johnson (The New Twenty).
June 6 - San Francisco, Berkeley, Sebastopol
June 10 - Denver CO, Portland, Denver, Philadelphia
June 12 - Dallas
June 13 - New York City (Quad Cinema) - Showtimes 1:00, 7:30
For further information/National Selected Theaters: http://www.testthefilm.com/#!in-theaters/caok
https://www.youtube.com/watch?v=FdIFfUVMkrQ


Don't ask me about all of my reasons why, because I could write an interminable essay on it, but the single most important point of skepticism is that he was expressing an idealistic point of view upon which I felt certain that he simply would miss the mark.
In his recent book, "Obama's Wars," Bob Woodward telegraphed President Obama's intent to extend the Afghanistan timeline when he wrote that the president would reveal a new strategy by December 2010. Right on schedule, Mr. Obama now says that we are there until at least 2014.
What Mr. Obama did not explain is just what the end game is and how much it will cost us in more lives and treasure.
American soldiers are being undermined by the inept leadership of Afghanistan's puppet President Hamid Karzai who cares more about his personal security and precarious political position.
The man hunkers down in the capital city of Kabul, the only part of Afghanistan over which he holds any degree of control, thanks to American delivered protection. He is unsafe in his own country and shuns travel to his subjects outside of Kabul for that reason.
In gratitude, Karzai hampers U.S. military operations by demanding rules of engagement for our troops which endanger their lives.
Meanwhile, his counterpart over the border in Pakistan refuses to grant American requests to extend the strike zone of U.S. drones in that country. This further endangers American lives and reduces the chances of neutering key Jihadist killers who may gravitate to undeclared safe havens in Pakistan.
While speaking of his Afghanistan timeline extension, Mr. Obama did not specify the billions more which will be wasted on nation building projects in both of those countries, as the U.S. tries to drain its own economic swamp where those dollars could be put to better use. This country can't do it all for everybody else, especially for the ungrateful.
OK! I know. This is not the cheeriest of messages just a few days before Thanksgiving. I promise the next post will be lighter, but some things need saying.
Thanks for reading. Have a good week and remember, stay engaged.
IN REMEMBRANCE: Forty-seven years ago today in 1963, our young President John F. Kennedy was gunned down while on a campaign tour in Dallas, Texas. Also on this day, C.S. Lewis, the famed author of The Chronicles of Narnia, passed away of natural causes.


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Home > Sport > King Philippe writes to King Eddy to thank him on behalf of Belgium
King Philippe has written a thank you letter to Eddy Merckx, one week before the Tour de France kicks off in Brussels.
It is now 50 years since 'the Cannibal' won the competition for the first time. "I would like to thank you on behalf of the country", the King said in his letter, which was published by Sudpresse on Saturday.
"Our country was on Cloud Nine 50 years ago: 30 years after the last Belgian Tour de France victory (Sylvère Maes' second), another Belgian had finally won the famous Tour. This was only the first of your five victories in the Tour, but in 1969 you were welcomed home a hero", King Philippe wrote in his letter to Mr Merckx.
"I was nine years old at the time, just old enough to understand the impact it had. I still remember the stress and joy people were feeling across the country. The joy in particular was visible everywhere. The entire world saw you as a hero. We were so proud!", the King continued.
"You managed one win after another and beat several records. You became a legend, a model of strength and perseverance. Despite all the success, you remained grounded and easy-going. You maintained a relationship with your supporters and the population. We can say without hesitation that you are the best cyclist of all time. The feeling of pride is unforgettable".
"This year, we will celebrate the 50th anniversary of your first win. A moment that is engraved in our memory and which moved the entire population. I would like to thank you on behalf of the country", King Philippe concluded.
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text:
Dave Lombardo – Philm
DAVE LOMBARDO: CAUGHT ON PHILM
He's one of the most prolific and well-recognised faces in the metal world – and all the more unique because he is a drummer. You can tell when Dave Lombardo's playing whether it's the breakneck double bass and avalanche-style fills of Slayer, crazy experimentalism with Fantomas or quirky bombast with Apocalyptica or Lorenzo Arruga. Now working with his reignited project Philm (featuring guitarist Gerry Nestler and bassist Pancho Tomaselli), Dave is more enthused than ever about music and finding a creative connection with other people. You can hear it in every rapid-fire note and unhinged delivery of Philm's music, an arty and demanding combination of thrash rhythms and post-hardcore dissonance – kind of. A merciless basher of the skins, Dave Lombardo is also a consummate musician. He's fully committed to the song, fully immersed in the moment, always striving for fresh-sounding performances that grab you by the ears and take the music where it's supposed to go. Dave makes exciting music by remaining excited about what he does.
Adam Stanley of Heavy Music Artwork sat down with Dave to talk about how interesting life is for him right now.
HMA: So how long have you been in Philm now?
DAVE LOMBARDO: Well, I reformed the band in 2010 right after everything went down Tom (Araya, Slayer bassist/vocalist) and his surgery (Araya underwent intensive spinal surgery during Slayer's Australia/New Zealand/Japan tour in October 2009 due to music-related back injuries), and then Jeff (Hanneman, late Slayer guitarist) with his spider bite (Hanneman was bitten by a spider on holiday which leads to his contraction of necrotizing fasciitis. He subsequently passed away from alcohol-related cirrhosis in 2013) – it just felt like, "Hmm, I need to put something together," you know.
Of course I've known Gerry (Nestler, Philm guitarist), and Philm existed all the way from 1995, but because I got really busy with Fantomas, worked on the Testament record (Lombardo performed on Testament's 1999 album "The Gathering") – I was doing Grip Inc, I was doing a lot of stuff between '96 and 2001 – I said, "Guys, you know, I can't really focus on this right now."
HMA: Yeah, it's kind of new to me – you've done so much stuff and it is one of the things I wasn't aware of previously.
DL: Yeah but we didn't release anything until 2012, that was the first album. We got back all the way… you know, Gerry and I have been friends since '95.
HMA: Right, OK – so how does it feel playing drums in what is not a new project, but the next step in what you're doing?
DL: I'm really excited, it feels great – it feels like a breath of fresh air. I think you've probably heard in the media, you know, I have like this renewed feeling towards music, you know, and the excitement is there, which is important – if you lose the excitement, it's not conducive to a working environment or creative environment, so this definitely has pushed me in a positive way.
HMA: So what are the things you're most excited about creatively in Philm?
DL: With this band, it's a collective effort. It's not one guy coming in and telling you, "It needs to go like this, play this, play that – throw your style and your drum roll in there but I wanna keep it with double bass here, upbeat here, downbeat there, play fast there" – you know, it's not like that.
What I love most about this band is the musicianship level. I've worked with some phenomenal musicians, for example (Mike) Patton (Faith No More/Fantomas/Mr Bungle vocalist), John Zorn – I mean this guy is an amazing saxophone player, songwriter, and then Bill Laswell, a bass player – the list goes on.
These guys (Philm) are up there with that calibre of musician – and the fact that we improvise so well. Gerry will start playing a guitar part, I'll come in with the drum part, Pancho will come in with the bass part; we'll create breaks and little changes spontaneously. And that's important. That's what I'm most excited about, and the fact that it's easy for us to create music together – plus we get along, which is important.
HMA: I listened to the last album and it sounds like you're not going for perfection, it's very much about vibe and attitude to my ears because it's very frantic and aggressive. When I listen to your drumming, lot of the fills seems like they're almost going to fly out of control, and then it kind of comes back in… could you talk about that, about what you think this music's bringing out of you?
DL: Well, I think you have to understand that with this album, the drums were recorded in one day. So we had time in the studio when the studio was offered by a company called Blue Microphones who create high-quality microphones – they have a studio which was Grace Kelly's house in the Santa Monica hills… I think it was Grace Kelly's, I could be wrong… and the studio was built in the attic and it was her closet where I guess she had all her dresses from the Oscars and whatever; and the downstairs was a big cavernous room almost like a church with these stained glass windows – it was just really beautiful.
We had one day to go in there and record, so I had to make sure that my drumming was on point – so if you hear some of that uncontrolled [stuff], that was just what was happening at that moment…. I'm sorry, I forget the question!
HMA: I was just trying to get into your headspace during the recording, since it sounds so frantic and aggressive, just going for it all the way through…
DL: Oh yeah, that was because of the situation we were in. If it feels that way it's also because we made sure to capture the true essence of band instead of throwing everything into Pro Tools and editing every single drum, making sure everything sounds machine-like.
I mean, all the records I did from 1983 almost all the way up to the second to last record I did with Slayer, "Christ Illusion", that was all done on tape, so all those albums were done organically without the use of Pro Tools. So I wanted to still maintain that essence and that element in the style of music, keeping it as raw and organic as possible.
HMA: Yeah I was going to say, there's not a whiff of a computer on the whole thing and I couldn't tell with the vocals or anything but certainly with the drums I could hear it was recorded very live… if you compare your experience recording on tape and then moving to digital, what's it like performing? I've never recorded on tape personally, I've basically started on computers.
DL: Well, you know, you have a tape, a reel that could be either used at 15 minutes or 30 minutes depending on the fps which I think is frames per second. You could switch it. So in those days, you were under a lot of pressure – you had to be well-rehearsed. Before you went into the studio, you had to know the songs, you had to be on point. "OK we're rolling, here we go."
At that time they would probably do one edit, one splice, let's say putting two songs together, two takes. "Well we like the first half of the first take, but we also like the second half of the third take," so they would take the two pieces and put them together. That's as far as it went back then, but I've heard stories that some drummers would do a lot of those cuts on their records, but I didn't.
Recording on a computer's a lot easier. "Hey, you know, I fucked up on that little bass drum part, let's just click, nudge it, fix it a little bit – done. I don't like to overdo it. You lose what it's all about and unfortunately, a lot of guys like perfection and I don't. "Oh I'm a little late there" – but you know what, it's human. It's real.
HMA: Is it a case, in the studio, when you're recording onto tape, of taking a deep breath and going "123 GO!"? Is it more adrenalized?
DL: Oh you do get adrenaline, and you are under pressure and there is an adrenaline kick there. You know it's, "OK! Here we go, I'm gonna do it!" But it's a lot of fun. It brings out the best in you and makes you a better artist, a better musician when you work under those pressurised circumstances.
HMA: Are you often playing to a click track?
DL: No. This album wasn't done to click track. This was all done with my own meter. All the albums I did with Slayer, they were all done without click track, except in the later years with say, "World Painted Blood", they would start off [with] the click.
Let's say I was playing it a just a little too fast, they would bring it down. I'd say, "OK, give me the bpm (beats per minute) you want, what feels best on the guitar," and then they'd start me off with the click for maybe the first eight bars or whatever, and then they'd shut the click off and let me go, let me build by crescendos and decrescendos, and go through the song.
HMA: Can you compare the approach to composition that you took in Slayer to what you're doing now, just given that that Slayer was your solid band situation for so long and now this is?
DL: No, this is a totally different approach. Let's compare – in the Slayer approach, it was either Kerry or Jeff. Kerry comes in with one riff: "Hey I got this riff idea." Or a couple of riff ideas. I'd play the drums to it, thrown in some rolls… to one of his riffs, I could create probably fix or six different drum beats.
So I'd throw all the different drum beats and then he'd get inspired and creates another part over another drum beat that I created from his riff, and it goes out like that. Jeff would have a CD or cassette with the skeletal version of the song – verse, chorus, a little bridge – all with his drum machine. He'd tell me, "Dave, this is the basic structure and this is how it feels but go ahead and add your style, and your beats, and whatever you feel." So I'd take the riff and see how it feels, then I'll add the rhythm to it and we'll go from there.
Now Philm is different. This is what I love about this band and why I'm so excited. We'll go, we'll call each other up and say, "Hey man, let's practice." I'll send a group message, you know. "OK, what time?" "Uh, one o'clock." "Lunch or no lunch?" So we'll go hang out, we'll have some lunch, talk, maybe have a beer or coffee, smoke or whatever – then we go into the rehearsal room and press record, let the tape roll.
HMA: So you're set up to record the whole time?
DL: Yeah. And that's where the magic happens. Gerry will play something, I'll start playing, or Pancho will start the song… and then it starts evolving. We'll go back and listen to those tapes of those rehearsals or improv sessions, and we'll trim everything that's unnecessary; take all the crap out and listen to all the other parts – then recreate the songs based on those initial improvisations.
So we'll take those little bits and then create around them – and we get to something really super interesting, where we go, "Wow, I really like that, that's a fantastic piece, let's create a song around that!"
Just like the opening track, "Train", that started from a drum beat, just (sings drumbeat) "TADATADATADATADA" – I said, "Guys, you know, this sounds like a train, listen to that (sings pattern again)," and Gerry was like, "Yeah man!" (sings introductory guitar part from "Train"), and then we added that thrash beat (sings riff), dundundundundundun – I don't know if you're familiar with the record, that (plays drum pattern on leg)?
HMA: Yes, yes.
DL: That fast beat. So we kind of incorporated that into all those pieces. This band is definitely something to see live. You know, the album does some justice to how powerful the band is, but when you see it performed, that's where I think these guys really shine because they deliver.
HMA: Yes, I can hear it's that kind of thing – it's a lot crazier than I thought it was gonna be, actually.
DL: Oh on the album?
HMA: Yeah, even the style of songwriting and everything, it's a lot more, like, unhinged.
DL: Unhinged? Really? There's been a lot of comparisons and I'm like, "Hmm? Really? I need to go back and listen to some of these bands you know."
HMA: I meant the adjective, unhinged…
DL: Oh I see! I get it.
HMA: I'm not going to compare you to anything.
DL: Yeah, that's cool!
HMA: I saw High on Fire recently, it was the same thing – I'd been listening to their stuff because I'd got the interview and I was like, "Oh I really should listen to this…"
DL: I really like High on Fire.
HMA: Yeah, and at first I listened and went, "I'm not sure," but when I saw it, it was amazing. I got to stand next to the drummer for the set…
DL: Ah, he's awesome, I love that guy… wow. It just takes me back to Australia, we had such a great drinking fest (laughs)… oh, it was fun! Great guys.
HMA: Awesome. Well, since you've been involved in a lot of diverse albums like the Vivaldi album, Apocalyptica, John Zorn as you said and Fantomas – what would you say it is that's drawn you to such diverse projects? To the common metal fan you're always thought of the fast double bass drummer, and I know there's more to your playing. Can you talk about what's drawn you to those projects, and then maybe about the mindset you've adopted for your drumming – like some of your favourite records?
DL: I think what's driven me to be as diverse as I am is the fact that at such an early time in my career, I created a style that I was known for, and I felt that there was more to me than just thrash. Once Slayer released their first album, we had already tapped into the style, and drummers started coming up to me and saying, "Hey I really like your style!" but I'd always be like, there's more to me. I'm into all other kinds of stuff. Most drummers would be surprised at what I listened to, which musicians.
So I think that's what kind of drives me to be creative – I think that's what initialised it, the drive to create something different. Now it's enjoyment, to create different things, different movements and beats; working with different artists. I think that it keeps things exciting, challenging; it keeps your style diverse, and it teaches you a lot because when you work with the same guys day in and day out, you only know how those guys work.
When you step out and you challenge yourself and go into a room with this artist that you've never met before and you've only talked to, say, over the phone or via internet – you tend to be put on the spot. So you go, "OK, what do I do here? What do I do there? What's gonna make him happy?" It's challenging, and I like challenges – because once you get stuck in the rut, it just becomes very boring.
HMA: So when you were growing up learning to play drums and developing your style, what other stuff were you using to do that?
DL: You know, something I don't think I've ever mentioned, but my sister-in-law, my brother's wife – she was from Germany, and she was heavily into Elvis. So I was really into Elvis. At a certain age I used to listen to all her Elvis records. At that time, I was exposed to Cream, Led Zeppelin and Jimi Hendrix, but I got into Elvis and I still have some Elvis records. Sorry, what was the question? you just took me to a place in my life…
HMA: No, I know what you can do in terms of playing heavy metal. I was just interested in what else you put into your mind when you were learning to play and that you brought to the table then.
DL: Oh yeah, yeah. Well I was heavily exposed to Latin jazz and Cuban music because of my heritage – I was born in Cuba and I came to the States when I was two years old. So I always had that element. I was exposed to R 'n B through my older brother, who was into Tina Turner, Chaka Khan – I remember some of those records. There's probably more, I just don't remember. And he was into War, the band War – I'll never forget that, the white album with the smile and the gold tooth. What else around that time?
HMA: And you would play along with all this stuff?
DL: Yeah, I would listen to it, play along and look at the albums and just dream about being a rock star or just playing onstage. Just looking at those album covers was always fascinating to me.
HMA: So what would you say you brought from all that to what you're doing with Philm now? Consciously or subconsciously?
DL: Subconsciously… because I listened to so many different styles, I'm able to adapt my drumming into those different styles. Like for example, on my iPod, while I was rehearsing for a drum workshop that I had to do in Italy, Ray Charles mysteriously came on. I have Ray Charles on my iPod, and several other bands you'd be surprised I listen to. Well, he came on, and I was like, "Hmm. I love that. Damn."
So I kept playing along, because I was just trying to play along to his stuff just to warm up – and I added double bass to a Ray Charles song, it was "Mess Around", which I think was his first hit. I did that, and I think that listening to all the different styles of music when I was growing up has helped me to adapt my drumming to anything I hear. You know, I just listen to anything. Even country – I'll listen to some country and I'll be like, "I could put some double bass in there, that'd be a perfect double bass part!"
HMA: It's all just drumming isn't it, at the end of the day?
DL: Yes! It's all drumming at the end of the day, it's just how you approach it – and if you could adapt to it, if you could adapt to the swing that the song has. So I think I've been kind of lucky to have been around people who've exposed me to all these styles of music, and I've just absorbed it.
HMA: OK. What would you say is inspiring you these days, like albums or other forms of art – stuff that's keeping you jazzed about music?
DL: Uh… I think right now, a lot of Afro-beat, stuff that's really laid-back; funky and groovy – kind of syncopated, those kinds of rhythms and beats have been influencing me and keeping me going. I mean today I'm playing with Pancho Tomaselli, who was the bass player for War, so I have to dabble in those rhythms too, to keep the edge up.
HMA: I've got a few gear-related questions. Are you someone who constantly varies their kit setup and drum types and sizes according to what you're recording? What do you want to hear from the kit?
DL: I like to hear resonance, I like to hear dynamics from my drumset. I don't like to hear dead drums, I don't like tape on my drums. If I go into a rehearsal place and there's a drumkit there, I'll take the tape off and retune everything, make sure it's resonating. My kit has varied through the years.
Obviously with the Slayer kit it's the big double bass kit, probably two, four, five toms. It used to be more, it used to be like seven or eight toms and two floor toms, but I've eliminated a few. It's difficult to travel hauling around a big drumset. With Philm I was inspired, after meeting Gerry, to strip down my kit to a four-piece…
HMA: So no twin kicks?
DL: No. Not even a double pedal, so it's just single bass, tom and floor tom. Reminiscent of the drummers that I was inspired by when I was young, which was Mitch Mitchell, John Bonham, Ginger Baker, even Bill Ward at one time used a four-piece kit. So I just had to go back and revisit that and now that's where I'm at.
But the next Philm album, which probably will be released in about six months from now, because it's almost done – that one has double bass. I decided to bring back the double bass with Philm. Because, you know, fans have been asking for it, you know, "You need to bring back some double bass!"
HMA: Do you prefer using two drums to a pedal?
DL: I prefer using two drums, it's just got more power, more air moving, it just feels better.
HMA: You get the tension right on both pedals…
DL: Yeah, you get the tension right… I have recorded with a double pedal on one album, a few songs for this movie and a whole album I did recently with Casey Chaos from AMEN (vocalist). I recorded that on a double pedal – but there were only a few songs that had double bass. It really didn't matter, I didn't have to haul the whole drumkit in there for just a few songs. So I adapt, you know.
HMA: In closing, I'd just like to ask what we can look forward to from you in the future – both from Philm and yourself? And what you might want to explore?
DL: Oh from Philm, I want us to come back to Europe and do more shows, do a more extensive tour with smaller cities. In the UK I'd love to visit Nottingham and Birmingham and Edinburgh, and who knows which other cities we could reach… and more music. More recordings. I want to document my playing and my experience and my music, that's just what I want to do. Hopefully, there'll be more of that in the future.
HMA: Great. Well, thank you very much for your time!
DL: Thanks man, great to meet you.
www.facebook.com/PHILMOfficial
www.facebook.com/pages/Dave-Lombardo/124433877627819
Interview by Adam Stanley – Copyright 2014 © Heavy Music Artwork. All Rights Reserved.
Category: MusicBy Heavy Music Artwork September 11, 2014 Leave a comment
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Home / Bookish / Reading List: It Sure Can Happen Here
Reading List: It Sure Can Happen Here
Reading List: It Sure Can Happen Here August 14, 2017	Darius
NORMAN SPINRADREADING LISTSINCLAIR LEWISVLADIMIR BARTOLWW2
While I'm on vacation, I'm going to cheat by porting over posts from my old blogspot site. Today, a reading list of historical books that I wrote in October, 2016, which is, unfortunately, even more relevant now. These are warnings from history. Spoiler alert! Nazis = Bad!
When I was growing up, one of my favourite miniseries ever was V (the original). I think I liked the sequel even better, because in that one, we finally win! Humans beating the evil aliens was pretty much the main message I got out of it. I was too young to catch any subtext to the story, namely its Nazism/Holocaust allegory. It seemed blindingly obvious when I was older. I mean hey, c'mon:
But to little kid version of me, once I saw lizard faces, motherships and cool blasters, what more was there to see? It was only when I rewatched the shows in my adolescence that I picked up on the message hiding (just barely) under the surface. Suddenly, adolescent me thought this was the most profound thing ever put on television. At that age, I still wasn't exactly deep.
As I grew older, not only did V's central allegory seem way too on the nose, it also seemed to lack relevance. Ethnic cleansing and genocide were certainly out there in the public consciousness, but here in the Western World, the idea that people could so easily allow an insidious movement to subvert the basic human decency of people well aware of what happened in World War II seemed painfully quaint. Overdone.
And yet here we are. I'm not even going to bother listing all the things going on in the world, because if you don't even know, this blog probably isn't for you. Writing that might have seemed dated a few decades ago is now totally of the moment.
Allegories written to warn us of the dangerous seductiveness of fascism have been around pretty much as long as the movement has been around. Here are a few that that fit the bill, some more on the nose than others:
It Can't Happen Here
by Sinclair Lewis (1935)
A demagogic US Senator, Buzz Windrip, wins the U.S. Presidency on a populist platform vowing to make the country great again. Once in power, he uses the levers of government and paramilitary supporters to exploit the passivity of the people and eliminate opposition, taking the country down a dark path.
What's it really about?
Lewis was deeply concerned about the populist presidential bid of Louisiana Senator Huey Long and hoped to derail his campaign.
How prescient was it?
Well Long got assassinated by the son of a political opponent shortly after launching his bid, so we'll never know. Some of the criticisms of the book are that it posits a fascist outcome out of the American political process, rather than as the product of an outside movement, but it sure seems a big part of American politics today.
How relevant is it today?
… hmm, did you read the first paragraph? Still, until these guys get their act together maybe not yet. It can't happen here, right?
Alamut
by Vladimir Bartol (1938)
Hassan ibn Sabbah founds the famous order of Assassins, ostensibly as defenders of a minority sect of Islam. But Hassan himself believes "nothing is true, everything is permitted" and uses the Assassins not so much to fight against persecution but as an experiment to see how far he can push true believers.
Bartol put an ironic dedication to Mussolini at the beginning of his book. He was a member of the Slovenian underground, fighting for independence against Italian fascist overlords. This was written in 1938, so the actions of Nazi Germany were no doubt on his mind as well. Bartol sought to illustrate the moral bankruptcy at the core of fascist ideologies, driven by strongmen and the followers they duped.
It was not so much prescient, since Bartol was trying to pull the curtain from the seductive trappings of fascism that was in the ascendant at the time. But it was also a warning of the dangers that blindly following fascist strongmen would bring to others and to their own followers. Considering this came out a year before World War II, this novel proved somewhat prophetic.
A leader who believes in nothing, tells people what they want to hear and his followers just blindly believe whatever he says… again hmm….
The Iron Dream
by Norman Spinrad
In a post-apocalyptic world where most of humanity are mutants, a hero with pure genetics takes leadership of his nation of pureblood humans to defeat the threat posed by mutants… but actually, this is just the plot of the novel within the novel, written by an alternate reality Hitler, who moved to America in 1919 and put his artistic skills to work illustrating sci-fi stories before turning his hand to writing.
Well if Hitler is in the book, then it's a bit obvious right? But Spinrad was actually making a point about the themes of hypermasculinity, supermen heroes and simplistic morality that run through much popular fantasy and science-fiction. Sometimes those values eerily mirror the values of Nazism.
I don't think Spinrad was really trying to predict anything so much as point out a disturbing trend and maybe prompt some more thought the next time you sit down to enjoy some good pulpy fun.
With the Sad Puppies and Rabid Puppies movement, there's an impetus out there to idealize the space opera / heroic fantasy works of the past. While there's nothing wrong with enjoying those genres, in doing so, we shouldn't ignore that many of these works possess undercurrents of fascism and racism. It's like wishing for the gold old days of the 1950's and conveniently forgetting segregation, routine workplace sexual harassment and blacklisting. So sadly, these concerns are ongoing.
These are just a few examples and I'm sure given the current climate there's a lot of other books that should be getting dusted off too.
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Spotlight on The Accursed Kings, Part III
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Photographer Ron Rosenstock�s career has evolved from dabbling in a few photo classes in college to a full-fledged retrospective exhibit of his work at the Worcester Art Museum. His stunning imagery of landscapes often takes your breath away, and the power of his eye is undeniable. We tore his gaze from his viewfinder for a few minutes to learn more about the man behind the camera.
Photographer Ron Rosenstock's career has evolved from dabbling in a few photo classes in college to a full-fledged retrospective exhibit of his work at the Worcester Art Museum. His stunning imagery of landscapes often takes your breath away, and the power of his eye is undeniable. We tore his gaze from his viewfinder for a few minutes to learn more about the man behind the camera.
How long have you been looking through the lens? I'm now 68 years old and have been photographing since I was 10 years old. I had my very first class in photography at Boston University, when I was a student there in 1964. I also had a class at the Cambridge Center for Adult Education in 1965. When Minor White started his classes at M.I.T. in 1967, I became part of a private workshop he offered in his home.
How long have you made it your sole career? I was married in 1965 and needed "a real job." I worked as a teller at Cambridge Savings Bank for one year. I then tried commercial photography, mostly architectural photography, until I started teaching photography at the Worcester Center for Crafts in 1969. I've been photographing and teaching ever since.
How did you come to call the Worcester area your home? Irene Shwachman taught photography at the school of the Worcester Art Museum in the 1960's and early 1970's. Irene was also in my photography Workshop with Minor White. When the Higgins Art Wing was completed in 1969, the museum school moved out of the craft center, into the museum building. Irene told me that the craft center was looking for someone to start an evening program teaching photography. I applied and got the job. I moved to Worcester then and have been in the area ever since. I have been living in Holden for the last 30 years.
What drew you to working primarily in black and white? I remember seeing the work of Edward Weston at the Museum of Modern Art in New York City when I was a teenager in the late 1950s. His work moved me deeply! Later I discovered the work of Ansel Adams, also in black and white. For me, there was not even a choice.
What sort of camera do you favor? I worked with an 8 x 10 Deardorf view camera from 1967 to about 1987. I then went to a slightly smaller view camera, the negative was 5 x 7 inches; a few years later I went to a 4 x 5 view camera and shot with that until I started using a digital camera, a Canon camera, about 10 years ago. I can now do everything I once did in the dark room, everything that Edward Weston or Ansel Adams were able to do, and much more, on my computer, without sacrificing quality.
How did you become involved in Photo Tours – and why? I went alone to Ireland for the first time in the winter of 1971. I returned every year, sometimes twice a year to continue photographing the beauty I found there in nature. In 1976—I was teaching at the Worcester Center for Crafts—some of my students said to me, "The next time you go to Ireland to photograph, we would like to go with you." That started the rest of my life! I had no idea I would enjoy it so much. Helping people to make better photographs in beautiful places, what could be better?
How does your history degree influence your creative work? I've always been interested in history! As a photo-tour leader, it helps a lot that I can also tell people a lot about the history of the different areas we go to photograph. Other than in Ireland, I work with a local guide, who is always an expert on the local history.
Your work is currently being exhibited at the Worcester Art Museum—tell us how that came about and what it means to show there? For me, showing in my home town, the town that gave me a start, is about the biggest honor I can imagine. It's hard to say exactly how it came about. I like to think it was fate.
Tell us about your latest project, "The Invisible Light"? I've always wanted to do infrared black-and-white photography. Working with infrared film was very difficult for many reasons. Now anyone can have a camera converted to be a dedicated infrared camera. That part is easy. Finding the right subject matter and the right interpretation takes lots of practice. Infrared has anotherworldly look, because it alters the way we perceive reality. I'm working with a well-known Irish poet, Gabriel Rosenstock, who will write haiku for each photograph; I will also have translations of the haiku in Irish (by Gabriel) and also into Spanish by a famous Chicano poet, Francisco X. Alarcón, and also in Japanese, by Mariko Sumikura, a famous poet from Japan. The book will have wide appeal in many different lands.
Make sure to take a visit to the Rosenstock exhibit Hymn to the Earth at the Worcester Art Museum, on display through July 15, 2012, or check out his work at ronrosenstock.com.


More issues - I have connected to the device I am using (custom device implementing standard SPP), and I am asking the device to send me data on a regular basis. At some times, without a pattern that I can see, the data that is returned via the OnData event has one of the valid characters replaced by a NULL (\0) character. I log out the data from the event as soon as it is received by the application.
I have tested exactly the same scenario, but using the WIDCOMM software to make the connection to the SPP, and the corruption does not happen. Therefore I can be reasonably certain that this is a problem in the WCL library.
There is a background process running discovery all the time, but I simulated this using the WIDCOMM software by constantly refreshing the device list. Still, WIDCOMM = no corruption, WCL = corruption.
I cannot provide you with any replication steps, seeing as this happens randomly, and I cannot see any pattern to it.
Information, you provided, is not enough to fix the issue.
1. Describe your problem in details.
I have given you as much detail as I can.
2. Which bluetooth drivers you are using and version of the drivers.
3. Wihch Bluetooth Framework version you are using.
4. Which programming language you are using and its version.
C#, 3.5. Not that it matters, it's a .NET library.
5. What your are doing (and what i must to do) to reproduce the error/problem.
I have specified what I am doing, and also told you that it's not reliably reproducible because the error is random.
6. For GSMModem the log file from PortMon (http://www.sysinternals.com) will really appricated.
7. For your own services then GUIDs of the service.
8. If you are using own application on mobile device for communicate with PC - the application or the demo wich works like your application will be very good help for me to find the problem.
9. The code part where problem accours or the description of what you do.
10. Do not post multiple posts for the same problem.
11. If you need provide code part of the BTF use private forum section (the registered users forum section). If you have started topi in public section but need provide the code from BTF please let me know - I'll move the topic into private section.
12. Do not use PM for error/bug reporting.
13. If you send request by e-mail do not post it here.
14. If you have made changes in BTF code (I hope you have read the license agreement before doing this) let me knw what and where you have changed.
I have just tested it on my phones: SE K750i and Nokia N95 with Dialup Networking service (as it uses SPP profile) and with OBEX services (as they use SPP profile too) - all works without any issues and data was not corrupted when I executing AT commands or when I uploading or downloading files. So it looks like issue on your side or with your custom device.
1) This does not happen using the standard WIDCOMM stack software. This means that it cannot be an issue with the custom device, as that has not changed.
2) I log the data that comes in to me directly from the OnData event. I write the content of e.Data directly out to a log file. This means that it cannot be an issue with my software, as I am writing what I receive from the OnData event directly out, I do not do anything with it.
Perhaps the OBEX layer has some sort of checksum / retry that is masking the issue when you try it with OBEX?
I am really sorry but our telepator has been damaged few days ago and we can not "see" what your application do and what your device send. As described in the topic I posted a little bit erly - provide us with application/code which can reproduce the problem on our side and we will be more than happy to fix the issue as it is more our interest than your I think. But with information you provided we can not reproduce the problem. As soon as we can not reproduce it - we can not fix it.
1. That means absolutly nothig as I do not know how your code works and how you reproduced it with using widcomm software and with using WCL.
2. This does not give us any idea how we can reproduce it.
OBEX does not have any check summ and uses the same OnData event (internaly in wclOPPClient and in wclFTPClient) and the same receivin g and writing mechanism. wclClient is base class for all OBEX based components.
What more information do you expect me to be able to provide you with? If you want to ask a specific question then I am more than happy to give you the answer, but making a jibe about your 'telepator' is hardly going to enable me to provide you with more information is it?
And yes, it is in your interest to fix the problem.
2. Nope, for the third time - this is a problem that I cannot see a pattern to.
It does seem to be related to discovery. If i turn the background discovery process off, then the corruption does not happen. I can then cause the corruption reasonably reliably by using the WIDCOMM software to do discovery while the application constantly requests data. This will usually happen after 1-3 times of running discovery using the WIDCOMM stack.
Does that help fix your telepator?
Ok, sorry - but I have managed to reproduce this using the standard WIDCOMM stack too! AAAARRRGGHHHH!!! Not a good day!
When using the WIDCOMM stack software it takes a much higher number of discovery repeats to cause the corruption, but it happens in exactly the same way - null byte in the data stream. So I'm now reasonably convinced it's not WCL.
Feel free to delete this thread / cast voodoo spells on me!
P.S. Can you recommend any way that I can debug down into the stack level, or somehow get some protocol analysis data to try and track this down further?
That's a really good idea - thanks! I think I will be OK with decoding, I will just look for a particular corrupted sequence of bytes in the payload.
Thanks again and sorry for getting my wires crossed!


text:
Home»Kids Activities»Free Learning Games For 4 Year Olds
Free Learning Games For 4 Year Olds
By Brenda On 4 November 2017 In Kids Activities | No Comments
2019 was addition arch year for adaptable bold revenue. Sensor Tower estimates appearance that common spending in amateur grew 12.8% beyond the App Store and Google Play, from $54.7 billion in 2018 to $61.7 billion in 2019. For some perspective, that's 74% of all in-app spending for the year, which hit about $83.5 billion in absolute not including Android in China.
Tencent's Honor of Kings was already afresh the highest-grossing bold of the year, breeding abutting to $1.5 billion in gross revenue. Addition appellation from the Chinese publishing giant, PUBG Mobile, attempt up the archive in 2019 to hit No. 2 in the rankings with aloof beneath $1.5 billion as well. The action royale bold grossed abutting to $1.3 billion added than in 2018 acknowledgment to its re-launch in China, area it's now accepted as Bold For Peace.
The top bristles was angled out by Sony Aniplex's Fate/Grand Order — which became Japan's top grossing bold of 2019, usurping Mixi's Monster Strike – King's Candy Crush Saga, which added user spending by $84.5 actor year-over-year, and Niantic's Pokémon GO, which had its best year ever.
The top ten grossing amateur generated an estimated $9.7 billion in accumulated acquirement during 2019, up 5.2% year-on-year. That amount represented about 15.8% of all user spending in amateur on the App Store and Google Play aftermost year. In 2018, the top ten accounted for 17.2% of all user spending in games.
The top 11 to 30 adaptable games, meanwhile, accumulated an estimated $8.8 billion, up 15.9% over the antecedent year. In 2018, that absolute represented about 14.1% of all user spending from both food in, while in 2019 it accounted for 14.3%. This shows that the money from user spending on adaptable gaming has become beneath concentrated in the top ten — and alike top 30 — titles in the all-around market.
"Just how able-bodied a action canyon can assignment in added genres charcoal to be seen, but the after-effects advance there can be cogent rewards"
If you've anytime taken alike a brief glance at the top grossing adaptable bold archive anniversary month, you'll accept noticed that there are few affecting changes — it's generally the aforementioned titles assertive throughout the year. In 2019, eight amateur ascend into the year's top 30 acquirement generators, with new entrants including PUBG Mobile, Garena Free Fire, Coin Master, Brawl Stars, and Empires & Puzzles.
Between the beginning faces and the old guard, there are a cardinal of acquaint to apprentice about what's active growth.
PUBG Mobile's success owes a lot to its barrage in China beneath a new name, Bold For Peace. Prior to this, it had been clumsy to monetise in China due to the country's big bold benumb in 2018 and the consecutive apathetic acknowledgment of licence approvals. It additionally came aback with some alterations, including no claret and a greater focus on patriotism.
But monetisation began convalescent afore the switch, acknowledgment to the barrage of a action canyon arrangement that was ahead popularised by addition action royale sensation, Epic Games' Fortnite. After authoritative abutting to $1.5 billion in 2019 alone, the accommodation to apparatus the action canyon — forth with a cardinal of collaborations and in-game contest with IP such as Godzilla and Resident Evil — has accurate to be astute.
READ Free Educational Activities For 4 Year Olds
Following in Fortnite and PUBG Mobile's footsteps was another, somewhat absurd game: Supercell's beloved action appellation Clash of Clans. The addition of a Gold Canyon and Season Challenges in April aftermost year led the bold to a 27% access in anniversary acquirement to $722 million. This stemmed years of abatement back the $1.8 billion it becoming in 2015.
Such is the success of this business archetypal that two of the year's better launches adopted commodity similar: Call of Duty Adaptable has its own action pass, while Mario Kart Tour launched with a account subscription.
Despite absolution in September, Call of Duty Adaptable still generated $114.9 million, while addition September release, Mario Kart Tour, raced to $74.4 actor by the end of the year. Aloof how able-bodied a action canyon can assignment in added genres charcoal to be seen, but — at atomic from these publishing giants — the after-effects advance there can be cogent rewards for this affectionate of monetisation.
Of the top 30 games, 11 of these titles added acquirement by added than $100 actor in 2019. For some, this was due to a ablution backward in 2018, but for others, 2019 was a year for aerial advance through a aggregate of user accretion and new features.
PUBG Adaptable was far and abroad the fastest riser, followed in additional by Moon Active's Coin Master. We mentioned in our antecedent commodity that Coin Master had a arch 2019, and it capped the year with $538.4 actor in revenue, with sales apprenticed by the United States, Great Britain and Germany. Indeed, China almost registered as a key territory, proving that, while the Chinese bazaar is awful lucrative, there are still big assets to be fabricated in the blow of the world.
Playrix's Homescapes saw user spending acceleration 71.5% to $626.8 actor in 2019, ancillary with a cogent access in downloads, suggesting a able user accretion push. Downloads in 2019 jumped 189% to 156.1 million.
Downloads for addition Playrix game, Gardenscapes, additionally added decidedly — by 247.2% to 113.4 million, with acquirement accretion 10.5% to an estimated $528.9 million. Both titles were top 30 grossers in 2019, alms an archetype of aloof how important UA absorb is. But accustomed the aerial cost, it's difficult to barometer aloof how assisting these titles are.
Depending on how you circuit the data, there are abounding added acquaint that can be abstruse from 2019 about how the adaptable amateur bazaar will move advanced in 2020. It will be alluring to see how the action canyon and cable models advance throughout the year, and which amateur accept them.
But a key takeaway from 2019 is that, with 22 altered publishers in the top 30 and acquirement accretion alfresco the top ten, the bazaar is growing for everyone.
Free Learning Games For 4 Year Olds – free learning games for 4 year olds
| Allowed to be able to our blog, in this period I will demonstrate regarding keyword. And from now on, this is actually the primary photograph:
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The Sam Neill Collection
Curated by NZ On Screen team
Sam Neill has acted in forgotten Kiwi TV dramas (The City of No) and classic Kiwi movies (Sleeping Dogs, The Piano, Hunt for the Wilderpeople). His career has taken him from the UK (Reilly: Ace of Spies) to Hawaii (Jurassic Park) to dodgy Melbourne nightclubs (Death in Brunswick). As Neill turns 70, this collection celebrates his range, modesty and style — and the fact he was directing films before winning acting fame. In these backgrounders, friends Ian Mune and Roger Donaldson raise a glass to a talented, self-deprecating actor and fan of good music and pinot noir.
This short 1979 National Film Unit documentary heads up the steep bush-clad West Coast valleys from Rūnanga, to profile the men at work at five private coal mines. Director Conon Fraser (Looking at New Zealand) showcases the remarkable DIY resourcefulness required by the small groups of miners. The rugged individuals work the seams, push bins along steep incline railways and dump the loads down vertiginously steep flumes. At the time this film was made waning prospects for the unique way of life were looking up, as high oil prices spurred demand for coal.
In 1865, Wellington became the Kiwi capital. In the more than 150 years since, cameras have caught the rise and fall of storms, buildings, and MPs, and Courtenay Place has played host to vampires and pool-playing priests. Wind through our Wellington Collection to catch the action, and check out backgrounders by musician Samuel Scott and broadcaster Roger Gascoigne.
Kiwi Comedy On TV
This collection celebrates Kiwi comedy on TV: the caricatures, piss-takes, and sitcoms that have cracked us up, and pulled the wool over our eyes for over five decades. From turkeys in gumboots and Fred Dagg, to Billy T, bro'Town and Jaquie Brown. As Diana Wichtel reflects, watching the evolution of native telly laughs is, "a rich and ridiculous, if often painful, pleasure."
Looking at New Zealand - White Island
Television, 1967 (Full Length Episode)
This edition of the 60s Sunday night magazine show travels to New Zealand's most active volcano: White Island, situated offshore in the Bay of Plenty. The thermal activity on the privately owned scenic reserve is vividly captured as the camera roams the roaring, shuddering landscape and ventures past seething fumaroles into the crater. The tenuous history of human engagement with 'Whakaari' is covered: from Maui and Māori myth to the derelict remains of sulphur mining; including a 1914 eruption that killed 11 miners (with their black cat the only survivor).
Lenny Minute One
Off his own bat, Ilam art student Glenn Standring got his third-year short into competition at the Cannes Film Festival. The minimal plot — hipster private eye Lenny Minute dryly narrates, before facing his nemesis, a rampaging giant blue "sheila doll" — allows Standring to conjure up a distinctive collage-styled cityscape, mined from a grab-bag of Americana inspirations: 50s sci-fi, jazz, the hardboiled detectives of Dashiell Hammett, and star Marlene Dietrich. After this early computer-aided short, Standring joined the Gibson Group as an animator, then directed two stylish features.
Television, 1996 (Excerpts)
Predating hit show Survivor, this early TV3 reality TV documentary saw Kiwi teens fending for themselves over eight days on Rakitu Island. Among the three females and three males facing off Lord of the Flies-style were future National MP Nikki Kaye, who later argued she was meant to represent the "private school girl who couldn't survive without a hairdryer". Instead Kaye took the leader's role and clubbed an eel, while many of her companions showed little inclination to help with the fishing. Kaye later opposed her party's proposal to mine on nearby Great Barrier Island.
Pictorial Parade No. 195 - After Ninety Years
This fondly-remembered Pictorial Parade plunges down the famously steep grade of the Denniston Incline. The cable railway was the key means of transporting 'black gold' from the isolated Denniston Plateau to Westport. The engineering marvel fell 518 metres over just 1670 metres. It brought down 13 million tonnes of coal and many hardy families, despite notorious brake failures. This film was made just before the mine and railway ceased operating, as "old king coal" was supplanted by oil. Director Hugh Macdonald writes about making it, and a companion film, here.
Ginette McDonald
Actor, Producer
Although Ginette McDonald's career is most associated with the gormless, vowel-mangling girl-from-the-suburbs: Lynn of Tawa, she is a woman of many parts. Alongside an extensive acting and presenting career, her work as producer and director spans three decades, and includes Shark in the Park, Peppermint Twist, and kidult series The Fire-Raiser.


We all belong to a foam fighting organization called Belegarth, where we engage in medieval-based fighting. You go out and kill or be killed. Belegarth is not only for people who want to fight, but it is also for people who want to socialize. Without the socialism aspect of our group it would not be half of what it currently is.
So how does Wolfguard fit into this mix? Well, our group is broken up into realms. These realms are spread all across the country. We fight here as Wolfpack of The High Plains. Wolfpack is one of several realms located within Illinois. Wolfguard is a unit founded in Wolfpack, but we are growing and expanding our unit into other realms. We currently have Wolfguard members in Dunharrow, Angaron, Gondor and Numenor as well as in the Wolfpack.
The Wolfpack is located on Illinois State University's campus. We are located in Normal, Illinois. We fight at People's Park, which is located just on the corner Beaufort and University streets. The Wolfpack has been around for about 6 years now and Wolfguard began in the Fall of 1998.
If you are interested in trying out Belegarth and are in the area of Bloomington/Normal, Illinois, please let us know! We fight every Tuesday at 5:00 p.m. and Sunday at 3:00 p.m. till dark. We also have indoor fighting for winter from November to March. Please direct your questions to Cyric. We always like to have people to come out and be a part of the fun!


text:
package com.example.ccshop;

import com.example.ccshop.domain.User;
import com.example.ccshop.domain.UserRepository;
import org.junit.Assert;
import org.junit.Test;
import org.junit.runner.RunWith;
import org.springframework.beans.factory.annotation.Autowired;
import org.springframework.boot.test.context.SpringBootTest;
import org.springframework.test.context.ActiveProfiles;
import org.springframework.test.context.junit4.SpringRunner;

/**
 * Created by litiancui on 18/1/8.
 */
@RunWith(SpringRunner.class)
@SpringBootTest(classes = Application.class)
@ActiveProfiles("test")
public class ApplicationTests {

    @Autowired
    private UserRepository userRepository;

    @Test
    public void testUser() throws Exception {

        // 创建3条记录
        userRepository.save(new User("Alina", 11));
        userRepository.save(new User("Lisa", 18));
        userRepository.save(new User("Tina", 12));

        // 测试findAll, 查询所有记录
        Assert.assertEquals(3, userRepository.findAll().size());

        // 测试findByName, 查询姓名为Lisa的User
        Assert.assertEquals(18, userRepository.findByName("Lisa").getAge().longValue());

        // 测试findUser, 查询姓名为Lisa的User
        Assert.assertEquals(18, userRepository.findUser("Lisa").getAge().longValue());

        // 测试findByNameAndAge, 查询姓名为Lisa并且年龄为18的User
        Assert.assertEquals("Lisa", userRepository.findByNameAndAge("Lisa", 18).getName());

        // 测试删除姓名为Alina的User
        userRepository.delete(userRepository.findByName("Alina"));

        // 测试findAll, 查询所有记录, 验证上面的删除是否成功
        Assert.assertEquals(2, userRepository.findAll().size());

    }
}


Social Strife Tickets - Get Tickets to upcoming Social Strife events from Ticketscene!
Social Strife will be in London, ON at Norma Jean's on May 03, 2019. If the tickets you are looking for are not available, please check back as our inventory is constantly updated. All tickets issued as eTickets. You can print your tickets from your My TicketScene account page.


text:
The Statue of Liberty
By: Jill Braithwaite
Publisher: Lerner Classroom
ReviewDate: September 2010
A young girl and her father are inside the crown of the Statue of Liberty. This massive statue holds her torch aloft as she "towers over New York City." The statue is actually made of copper, but "copper turns green when it sits outside." The statue itself has come to stand for freedom. She is sporting robes and a crown, has a torch in one hand and a tablet in the other. The tablet has the date July 4, 1776. The numbers are carved in the Roman numerals IV MDCCLXXVI, which "is a way of writing numbers with letters of the alphabet."
Americans were once under the rule of a British king, but "fought a war to be free." France also helped in our effort to be free and when the war was over the "French people wanted to give the United States a gift." It was decided that French artist Frédéric-Auguste Bartholdi would create a "big statue for Americans." Eventually it was decided that the statue would end up on Bedloe's Island in New York City's harbor. The island was eventually known as "Liberty Island." Work began on the "statue in Paris, France in 1875." In this book you will see how they hammered the copper sheets, how they nailed them to an iron frame, how they transported the statue to New York, how it was put back together, the celebration on October 28, 1886, what it came to stand for, when the statue was cleaned up a century later, and how people can now visit her.
This is a nicely written overview of the history of the Statue of Liberty and what she now stands for. The text was very easy to understand and the accompanying photographs were very well chosen. When the history of the statue is discussed we are able to view art reproductions and striking period photographs of the actual construction of the statue in France. Small captions also give out important informative vignettes. For example, when we see a ferry boat crossing the water, the caption states, "There's no way to drive to the statue. So visitors travel by boat." In the back of the book is a general map of the "New York City Area," some "Fun Facts," an index, a glossary, and additional recommended book and website resources to explore.
Quill says: This book would be an excellent resource for young students to learn about one of our most cherished symbols of freedom, the Statue of Liberty.


Puzzle Pirates Forums - View Thread - Ice's Bizarre Bazaar!
Forums » List all forums » Forum: Ice Discussion » Thread: Ice's Bizarre Bazaar!
Bilged anything older than 3 months. Added standard bazaar rules and stickied. Enjoy.
Buying Inter - Arch maps.
Buying 14 Rogue Marks, 150k for all.
Trading tan/wine parrot for another familiar.
I'm looking to obtain the chart for Fort Royal to Shatterstone. Please message me here.
"Dear three rings, please add a mute everyone button to the game. If you do I'll take back all the mean things I've ever said to you in any of my emails, letters, bug reports, petitions."
I have Wemadeit-FR-Cold Spring-Shatterstone-Eieio-Kings memmed, and I would be happy to chart for anyone anytime. Easiest way is to find me on Emerald.
I'm looking for charts to Winking Wall Island, if anyone has one.
Buying sloops, send Dad or Gum a tell.
Selling unnamed black pony, freshly won from a black box. 40k or best offer.
October 17th 2014, still selling.
Selling the following items - No prices as of yet just looking for offers.
Also selling 12 Rogue Marks, 100k each.
Find me in game on Ice or reply here.