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160 Electronics Engineer Jobs
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Sr Engr, Electronic Dsgn Engrng
HGST, Inc. has an oppty in Rochester, MN for a Sr Engr, Electronic Dsgn Engrng. Mail resume to Attn: HR, 951 SanDisk Dr, MS: HRGM, Milpitas, CA 95035; Ref #ROCPBE. Must be legally auth to work in the US w/o spnsrshp. EOE
HGST, Inc. has an oppty in Rochester, MN for a Sr Engr, Electronic Dsgn Engrng. Mail resume to Attn: HR, 951 SanDisk Dr, MS: HRGM, Milpitas, CA 95035;...
The Stewart Blusson Quantum Matter Institute (SBQMI) at the University of British Columbia is a world-leading venture into research of systems and phenomena explicitly involving quantum mechanics. One of its interests is the development of a quantum information processing platform based on silicon p...
The Stewart Blusson Quantum Matter Institute (SBQMI) at the University of British Columbia is a world-leading venture into research of systems...
Technical Coordinator/Sr. Technical Coordinator - Site 300
Tracy, CA US
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have multiple openings for a Technical Coordinator at Site 300 in Tracy, CA. Un...
Technical Coordinator/Sr. Technical Coordinator
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have an opening for a Technical Coordinator. Under general supervision, you wil...
Semiconductor and Microfabrication Post College Appointee
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have multiple openings for Semiconductor and Microfabrication Post College Appo...
Plasma Engineering Technical Associate/Program Field Rep.
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020Best Places to Work by Glassdoor! We have an opening for an Engineering Technical Associate/Senior Technical Associat...
Technical Coordinator/ Sr. Technical Coordinator
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have an opening for a Technical Coordinator/Senior Technical Coordinator. You w...
Semiconductor Detector Engineers
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have multiple openings for Semiconductor Detector Engineers to support R&D effo...
Technical Supervisor/Technical Contributor
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have multiple openings for Technical Supervisor/Technical Contributor. You will...
Distribution Grid Engineer-Analysis and Controls Lead
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have an opening for an experienced engineer. You will lead system research on e...
Control Systems Hardware Engineer
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have an opening for a Control Systems Hardware Engineer. You will provide engin...
Weapons Engineering Associate
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020Best Places to Work by Glassdoor! We have an opening for a Nuclear Weapons Engineering Associate to provide technical...
Electronics Technologist/Sr. Electronics Technologist
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020Best Places to Work by Glassdoor! We have an opening for an Electronics Technologist/Senior Electronics Technologist ...
Electrical Engineer/Applied Physicist - Pulse Power and Applied Electromagnetics
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020Best Places to Work by Glassdoor! We have multiple openings for exceptional engineers to work on projects in pulsed p...
Engineering Electrical Design Associate
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have multiple openings for Engineering Design Associates to support the Nationa...
Electrical Engineering Technical Associate for Target Diagnostics
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We an opening for a Drafter. You will support engineering, scientific, and technic...
CH2M Hill, Inc
CH2M Hill, Inc., a Jacobs Engineering Group company, Electrical Engineer, Bellevue, WA to Research, design, develop, test, or supervise the installation of electrical equipment, components, or systems for commercial and industrial use.Mail resume to CH2M Hill, Inc., a Jacobs Engineering Group compan...
CH2M Hill, Inc., a Jacobs Engineering Group company, Electrical Engineer, Bellevue, WA to Research, design, develop, test, or supervise the...
Workforce Personnel Administrator
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have an opening for a Workforce Personnel Administrator to coordinate internal ...
Engineering Technical Associate/Weapon Production Quality
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have multiple openings for Weapon Production Quality Associates - Nuclear Weapo...


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In this video, Erik Dillard teaches us how to sing. Remember that breathing is everything. A lot of people having amazing voices, but they can't tap into their full voice because they aren't breathing properly. Make sure you use your diaphragm and never breathe through your chest. If you're sitting down, make sure your posture is upright and if you're standing up, don't lock your knees up. Remember to relax and breathe. Take care of your voice and have a good time with learning how to sing. Start out by doing beginner exercises and when you have mastered these, you can go into medium and expert levels!
(1) Part 1 of 15 - How to Sing, (2) Part 2 of 15 - How to Sing, (3) Part 3 of 15 - How to Sing, (4) Part 4 of 15 - How to Sing, (5) Part 5 of 15 - How to Sing, (6) Part 6 of 15 - How to Sing, (7) Part 7 of 15 - How to Sing, (8) Part 8 of 15 - How to Sing, (9) Part 9 of 15 - How to Sing, (10) Part 10 of 15 - How to Sing, (11) Part 11 of 15 - How to Sing, (12) Part 12 of 15 - How to Sing, (13) Part 13 of 15 - How to Sing, (14) Part 14 of 15 - How to Sing, (15) Part 15 of 15 - How to Sing
How To: Play the solo from "I Want to Sing That Rock & Roll
How To: Celebrate the 8 days of Hanukkah with the standard Jewish traditions
How To: Play "Sea of Love" by Phil Phillips on the ukulele
How To: Sing the Japanese Hiragana symbols
How To: Play "Losing My Religion" by R.E.M. on guitar
How To: Play "What It's Like" by Everlast on acoustic guitar
How To: Play "21 Guns" by Green Day on acoustic guitar
How To: Create and play blues-style solos on the ukulele
How To: Play the six note blues scale on the acoustic guitar
How To: Play "Yesterday" by The Beatles on piano
How To: Arrange chords on an acoustic solo fingerstyle guitar
How To: Conjugate the verb "Sing" in Cherokee
How To: Make DIY Hatsume Miku Vocaloid headphones for cosplay
How To: Draw Walt Disney character, Mickey Mouse
How To: Play the guitar and sing at the same time
How To: Say 'My Name Is' in Perfect French ('Je M'appelle')
How To: Sing the Hebrew "Aleph-Bet" with "Twinkle Little Star"
How To: Sing the "Happy Birthday" song in Cherokee
How To: Teach your baby to sing on pitch

redpajama_set_name: RedPajamaCommonCrawl


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Q: SQL Server sum column base on id I have table and I want result like this:
id      ItemId      Quantity   Sum
 1         1            2       2
 2         1            1       3
 3         1            1       4
 4         2            3       3
 4         2            1       4
 5         3            6       6

where id is primary key and ItemId is foreign key and Quantity is integer column.
I want that "sum" column sum quantity base on itemId.
I used group by but it does not give me what I want. With group by
I get this result:
id      ItemId      Quantity    Sum
 1         1            2        4
 2         1            1        4
 3         1            1        4
 .         .            .        .
 .         .            .        .

The "sum" column is same for all related rows.
I also used this code:
select it1.id, it1.ItemId, it1.Quantity ,

(select sum(it2.Quantity) from InventoryTransactions it2 where it2.ItemId = it1.ItemId and it2.id <= it1.Id) as Sum

 from InventoryTransactions it1
 order by it1.ItemId , it1.Id

This code gives me what I want but it takes too long for a large number of records, for example for one million records. It takes more than two minute to execute
What is the best way?

A: In sql server >= 2012 you can do a rolling sum easier
select it1.id, it1.ItemId, it1.Quantity,
sum(Quantity) over(partition by itemid order by Id rows unbounded preceding) as Sum
from InventoryTransactions it1
 order by it1.ItemId , it1.Id

redpajama_set_name: RedPajamaStackExchange


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Updated Nov 25, 2021 - Energy & Environment
Biden administration approves second major offshore wind project
Rebecca Falconer
Photo: David Paul Morris/Bloomberg via Getty Image
The Biden administration approved Wednesday plans for a major offshore wind farm to supply power to New York.
Why it matters: The approval for the installation of a dozen turbines near Rhode Island marks a major step in the administration's goal of reaching 30 gigawatts of offshore wind-generating capacity in U.S. waters by 2030, powering more than 10 million homes.
Officials see offshore wind as a key tool to help meet the White House its target of 100% carbon-free power by 2035, as part of a wider commitment to combating climate change.
Details: The 130-megawatt South Fork Wind project will be the first wind farm to supply power to New York, transmitting power to Long Island, the Washington Post notes.
The project will "create about 340 jobs and provide enough power for about 70,000 homes," per an Interior Department statement.
The big picture: The green light for the South Fork Wind project marks the second commercial-scale offshore wind farm approved by the Biden administration after the Vineyard Wind, which is under construction off the Massachusetts coast.
The Biden administration plans to identify and lease federal waters along seven coastal areas to offshore wind power developers by 2025.
Yes, but: Officials have to overcome conservationists' worries about the wind farms' effect on endangered whales, people in the fishing industry's concerns about their catch and coastal homeowner trepidations about their sea views, per WashPost.
Meanwhile, a $1.75 trillion social spending and climate bill passed by House Democrats earlier this month, which includes over $300 billion in clean energy tax incentives for projects such as the erection of wind turbines, faces an uncertain future in the Senate.
Changes to the bill are likely, with Sen. Joe Manchin (D-W.Va.) among those expressing concern at some aspects of the measure, Axios' Ben Geman writes.
What they're saying: Interior Secretary Deb Haaland said in a statement there's "no time to waste in cultivating and investing in a clean energy economy that can sustain us for generations."
"Just one year ago, there were no large-scale offshore wind projects approved in the federal waters of the United States. Today there are two, with several more on the horizon," she added.
New York Gov. Kathy Hochul (D) said in a statement that the state is "facing the challenges of climate change head-on" with such action.
"Our nation-leading climate and offshore wind goals demand bold action and moving South Fork Wind forward brings us closer to a cleaner and greener future," she said.
Editor's note: This article has been updated with comment from Hochul.


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Blake Liggio, a transgender law partner at Goodwin Proctor LLP in Boston, delivers the 3rd Annual Stonewall Lecture at RWU Law. Image Credit: RWU Law/Andrea Hansen
The third annual Stonewall Lecture at Roger Williams University School of Law was unusual in that it played out more like a conversation, with a sizeable audience of students, faculty and staff driving the discussion through an engaging series of questions and answers, while the prepared remarks of this year's speaker, Blake Liggio, Esq., served as more of a prologue.
Liggio, a partner with Goodwin Proctor LLP in Boston, is one of the nation's first out transgender law partners in BigLaw. His professional focus is on mergers and acquisitions, as well as the intersection of real estate and technology. He received his bachelor's degree from Colby College in 2003, and his J.D. from Northeastern in 2009.
Liggio opened his comments with a reference to the 50th anniversary of the 1969 Stonewall Riots, which marked a critical turn in the fight for LGBTQ rights, serving as the impetus for the formation of several gay, lesbian and bisexual civil rights organizations. He noted that currently "the legal industry is experiencing a similar moment and time of positive change," and suggested that his experience in the decade since his law school graduation illustrated that evolution.
"The legal industry has traditionally been a relatively homogenous profession," Liggio said, but today, it is in the process of opening up to new perspectives and experiences, and "many organizations now are really realizing the benefits of diversity and equity and inclusion in all different subsectors of lawyering."
He went on to narrate this evolution through the prism of his own experience.
"These environments should be able to withstand you being who you are. That's true equity, true inclusion, and really where we're trying to get to."
~ Blake Liggio, Partner, Goodwin Proctor LLP
Liggio first worked for Goodwin Proctor as a summer associate in 2008. He decided not to come out at that time, however, because (1) the Great Recession of 2008 was looming and jobs under any terms were precious, and (2) he could find "no precedent" for how a trans person coming out might be treated in BigLaw.
After receiving a hard offer from Goodwin, however, Liggio "started to talk to the firm gradually about the fact that I'd be coming back as a male named Blake, and what that meant."
The firm, it turned out, was open to assisting Liggio in the transition, but it was still very much "a learning experience," he said, with much of the burden for driving the process resting squarely on his shoulders. "It was a sharp learning curve, and we basically created a policy that helped facilitate my integration. We had some hiccups along the way, but generally I went in with a positive attitude, and it was a collaborative process."
Today, Liggio said, things are a bit easier for trans lawyers in BigLaw.
"Certainly since I started my career, organizations have made a ton of progress on not having that burden of integration rest on the employee," he said. "For example, I'm proud what we've accomplished at Goodwin, because I know that the next trans employee coming through the door is going to be able to just get down to work. These environments should be able to withstand you being who you are. That's my goal for the work that we're doing. I think that's true equity, true inclusion, and that's really where we're trying to get to. And I will continue to devote a lot of energy to making that process better."
He is gratified to see more and more legal organizations following suit.
"Law firms – and law schools, for that matter – are starting to preemptively address these issues, preparing in the abstract to welcome trans students and trans employees," he said. "I think best practices require preparation, not just waiting to address the issue when it occurs."
Liggio explained, "It's about not being reactive, but rather proactively creating that type of inclusive environment – that's what's really key. Some of it involves policies, too. A checklist of all the things we do – for example, bathroom equality. That may sound silly, but for trans people it's complicated.Or making sure that the IT people know. Or that your building badge is changed. All of these things that you wouldn't necessarily think about – those are precisely the types of things we need to sit down and really weed through."
In the end, however, the effort yields benefits not just for the trans community, but for the legal profession as a whole.
"What we do as lawyers, no matter what our specialty, is to solve people's problems," he said. "And for that, ensuring the presence of different experiences and various viewpoints is invaluable. It's much more preferable to have a team that with a diversity of viewpoints. It makes us, and the fabric of our organization, deeper and more capable of effectively solving our clients' problems."
'Just Showing Up'
Navigating the administrative aspects of integration with a large law firm, however, is just the beginning of the challenge for trans lawyers.
"I'm not going to sit here and tell you that today, as a trans person, you're going to walk into that large of an organization, and everybody is going to understand you, or have experience working with or being exposed to a trans person," Liggio said.
Rather than taking an "activist" approach, however, and trying to force people to confront their prejudice or discomfort, Liggio chooses to simply let his presence, qualifications and skills do the talking.
His approach is "just showing up to work and showing people that trans people are there," he said. "That we just want to have jobs, have families, live the life that we've always wanted to have in the absence of the potentially burdensome condition of our identity."
Of course, the process isn't completely friction-free. But today, Liggio feels fully accepted as an integral part of Goodwin Proctor's leadership.
"There were certainly people whom I had to educate and bring along," he said. "But generally I would say the effort has been a tremendous success for the firm."
One audience member asked Liggio how enlightened corporate policies translate into actual interactions with perhaps less-enlightened clients. The questioner noted, "Sometimes it seems like a firm would say, 'We're happy with you, but we have to make our clients happy too.'"
Liggio acknowledged it was an issue.
"One of the challenges for trans people is maneuvering situations like that," Liggio replied. "Unfortunately, I think it's a burden that we bear right now, that we have to just get through. You become very perceptive about your environment. You start to read relationships with clients, and you sit back and observe. For me personally, when I 'show up,' it's always with authenticity. I mean, I don't have a little note pinned to my back when I walk into a client meeting – but clients can ascertain this information about me."
In fact, most clients arrive with this knowledge at the first meeting.
"Nowadays, they Google you," Liggio explained with a smile. "When they hire a lawyer, that's what they do."
In professional interactions, the fact that he is trans is "never something that is directly addressed until I really get close with a client," he added. "I do sometimes pick up on some awkwardness at the beginning of relationships, but as soon as you start to demonstrate that you're doing the job, it goes away. Because at the end of the day, what clients want is the best lawyer. So that's where I try to get to."
As Liggio's meteoric rise at Goodwin suggests, he is prodigiously capable of getting there.
"I love mergers," he said. "You're working with these big companies, you're combining them, you're in corporate boardrooms – it's a high-octane job, and I'm a high-octane person. Certainly,in the environment of a BigLaw firm, you're going 100 miles an hour from day one."
But the nagging sense that he has to prove himself can still persist.
"I often feel that I have to do everything three times better than the next person," Liggio said. "And I know that other people who happen to be minorities – specifically in the legal profession – also grapple with that feeling. But I think that clients – like law firms – are gradually coming around to the idea that having diverse lawyers is very valuable."
He added, "I lived a tremendous amount of my life as a woman, and women solve problems very differently than men do. So in a way, I feel almost like it's a blessing that I got to experience both ways of thinking.
"I think it makes me a better lawyer."


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Wahanui Wynyard Profile
Simon Grigg
New Zealand vinyl singles from the 1960s and 1970s are increasingly sought-after internationally, with many selling for over $1000 to global collectors. In a recent listing of these, the top three – from Auckland garage bands The Bluestars, The Smoke and The Principals – have one thing in common: Wahanui Wynyard is credited as engineer or producer.
Few names from the era are held in such regard by collectors and yet the man himself remains largely unknown to a wider public and, given his reputation, extremely unassuming and self-effacing.
In the late 1950s, Wahanui was a teenager in Northland; he was born in Whangarei, but raised in Russell in the Bay of Islands. In 2017 he told AudioCulture, "My father was from a little village between Russell and Kawakawa called Karetu. My mum was from Moturoa, which is one of the small islands in the Bay. I think she was from Totara North originally, she used to row from the island to Rawhiti for school every day."
When Wahanui left school in 1960, his mother asked him what his plans were. He shrugged and said he had no idea, so she suggested he write to the three branches of the armed forces, and to the state broadcaster, the NZBS (New Zealand Broadcasting Service). Wahanui did this, and to his surprise was accepted by all of them for training.
"I asked myself, who pays the most money and I thought it would have to be the NZBS. At the time, I had no idea what I was getting into, but the Army and Navy would have me marching around with a gun on my shoulder. I wasn't interested in that. I had no idea at all what the NZBS would have me do, but I went for an interview at 1XN and decided that's what I was going to do."
There were no vacancies at the Whangarei station, but they wanted to test his possible skills so he was asked to collate a show called Music To Work By, a music-only show of listener requests played daily on the station. The show had to fit the 30-minute time slot and the songs had to flow together. With little more than instinct to guide him, the teenager passed the test with flying colours and was sent to Auckland for another interview, accompanied by his mother. There, after some persuasion from Mum, regional engineer Gordon Baxendale offered Wahanui a job at the NZBS studio in Shortland Street, Auckland.
At age 18 Wahanui Wynyard was a trainee engineer, albeit one who knew little about the job he was supposed to do. But he was eager to learn. "They did the usual with me," he laughs, "'find me a left-handed screwdriver and a left-handed hammer and charged-up condensers'. I would say 'I know nothing about this sort of stuff', which was true. I did this for four months and then I was sent to Wellington for a training course." At head office in the capital, the NZBS management would decide if the young trainee would continue on the technical side or move to another role, an on-air DJ perhaps.
In Wellington, Wahanui discovered an aptitude for recording. "I said 'I want to have a go'. I was better at it than any of the others. They were more interested in how a phone works, how an amplifier works, how a console works … and I was, fine, you go do that I'll go and do this. But, I never got to do any [recording] until way, way later."
Back in Auckland, at Shortland Street, Wahanui was put into the recording studio beneath 1YA, transferring tapes, making transcription discs and acetates, and working on current affairs shows, and sports and farming programmes. He also assisted recording radio dramas. "You have one person down one end of the studio doing footsteps and opening/closing doors and ringing bells, and all the other sound effects. I was placing the microphones for these, and I thought this is great, one day I'm going to get in and do these plays."
He found himself working with the reigning BIG bands of the era.
Many of these were made by a disc jockey from 1ZB, but the results were uneven and unbalanced. The DJ was removed and Wahanui was asked to try his hand. The results were impressive. "So I got to do it. I moved up a little bit further."
Intrigued by some of the Hawaiian sounds performed by Bill Wolfgramm's band that he was transcribing for the BBC, Wahanui asked where it was recorded. When told it was done at the 1ZB Radio Theatre across town in Durham Lane West, he approached the studio's producer, Don Patton, and asked if he could sit in. He soon found himself working with the reigning big bands of the era: "I soon found myself working with the big jazz bands of Bernie Allen, Crombie Murdoch and Merv Thomas, The Oswald Cheeseman Orchestra, Bill Wolfgramm and his Hawaiians, the wonderful vocals of Kiri te Kanawa, the Lew Campbell, George Campbell and Don Branch Jazz Trio – we even did a comedy show with audience called The Life of Fred with Peter Engebretsen producing."
It was the era of quarter-inch mono tape and studio gear: primitive by later standards. This meant recordings were usually done in one take. "When it was done, they'd ask, 'any mistakes?' 'no', 'right, that's it – next'."
Poor pay, his own growing skills and a desire to experiment in the studio –albeit restricted by the limitations of the equipment – led to Wahanui taking up offers of extra work in the Shortland Street studios (in April 1962 the NZBS became the New Zealand Broadcasting Corporation). One of the first sessions was with a young band from Auckland Grammar, The Bluestars, who managed to hurriedly record four songs in mid-1965 at 1YA's studio before an orchestra arrived to take over the room.
These recordings were sent by the band's manager to Decca Records in the UK and two of those songs, 'Please Be A Little Kind' and 'I Can Take It', were issued as a single there in December that year. While the single was not a hit – even in New Zealand when it was released in early 1966 – the B-side of the single was a pointer towards things to come. Although 'I Can Take It' was a little more R&B than the records Wahanui Wynyard would later become known for, it had a similar unfettered momentum and raw ferocity.
Around the time the debut Bluestars' single was recorded, Wahanui Wynyard's career took an important turn. "We used to have people come in to do advertising work which would then be transferred to acetate by us … there was this bloke from Astor Studios, which was just down the road in Shortland Street, to do these [transfers]. I used to time them and have a listen to them, make sure they sounded all right and things like that. And he said to me one day 'are you interested in doing some after-hours work?' I said 'yeah!' and so I started doing stuff with him at Astor."
Shortly afterwards Astor's city recording studio moved to the new Peach-Wemyss-Astor film facility in Nugent Street, Grafton (although the sound studio was always known as just Astor to the recording industry). Wahanui was offered a full-time job there, which he accepted.
Astor had a close relationship with George Wooller's Pye/Allied International/RCA recording group and Wahanui quickly developed a friendship with their A&R boss, Fred Noad, which meant he was regularly approached to record artists from their roster over the next five years. Noad was adventurous in his signings and Wahanui was often asked to work with young artists keen to expand their sounds in the studio, in what were increasingly experimental times.
"He said, 'where the hell did you get that from? You can't do that, it's illegal!'."
It was, however, a friendship tested by Wahanui's habit of creating acetates of the current radio hits for private use. He would borrow the singles and put the current hits on a single long-playing compilation for his own use. "People used to love them because they had never heard anything like it. I took it down to Fred Noad one day and I said, 'look at this'. He said, 'where the hell did you get that from? You can't do that, it's illegal!'." A suggestion that Pye create similar albums for public consumption was dismissed out of hand. In the 1970s the Solid Gold Hits collections, created by PolyGram's John McCready for the record companies, would sell hundreds of thousands of records and make the industry a substantial sum annually.
At Astor, Wahanui Wynyard was doing advertising work during the day and recording bands and other artists during the evening. He was also working on films, including incidental band music for John O'Shea's Runaway (although this preceded his full-time job at Astor). Among the bands recorded were The Chelsea Beats, featuring a young Red McKelvie (his first documented credit at Astor).
The Bluestars meanwhile had, without Wahanui, recorded a second single at Mascot Studios for Decca, but it was rejected by the UK company, who dropped the band. The Bluestars returned to Wahanui, now at Astor, to try again. In September 1966, the band and the producer recorded their landmark proto-punk classic 'Social End Product', the song that would forever establish the reputations of both the band and Wahanui Wynyard. Nothing like 'Social End Product' had been recorded in New Zealand before: it is a searing performance and a challenging production from the opening lead riff, to the volley of screams that close it two and a half minutes on. Globally, it made The Pretty Things sound like Herman's Hermits and it has been heavily bootlegged and compiled in the decades since. Magazines and albums have been named after it, and one copy changed hands in the United States for US$1300 in 2016.
However, Wahanui told AudioCulture in 2017, he can barely remember the session. "I can't remember what I did … I don't think it was accidental, I think I think the guys came in with something they would like to hear and they said 'can you reproduce this?' and I just reproduced it, that's basically it.
"It was all done on mono. We had two tape recorders and we would bounce sounds backwards and forwards and overdub. However, we were just losing quality the whole time it was being transferred. Sometimes we would end up with eight or nine dubs across, with extra things going on all the time. It gave it a noisiness ... raucousness!
"You would do a backing track – sometimes you would do a backing and a vocal track together – and then you would dub what you needed.
"We just went with what the band was playing, it wasn't being put through effects or anything, it was just capturing the performance. We had no choice anyway. You know, that's all we had and we had no way of changing it. Once it's on there, that's it."
Whatever was done or not done, there was a uniformity of sound now coming from Wahanui Wynyard's desk at Astor and a string of classic sides recorded by him appeared on RCA, Allied International, Pye and Benny Levin and Russell Clark's new Impact label over the next years. The Smoke, The Hi-Revving Tongues, Dallas Four, The Principals, Larry's Rebels, The Music Convention, Le Frame, Tomorrow's Love, The Fair Sect, The Challenge, and Ray Woolf And The Avengers are just a few of those with Wahanui's name on the label, either as engineer, producer or "Recorded By" (in 1960s New Zealand, credits were largely interchangeable). Many more – including releases known to include his work – don't have label credits and Wahanui admits he's often just forgotten.
"When I was in Sydney, a couple of guys came up to me and shook my hand saying, 'good to see you again'. I didn't really know who they were but then they started talking about things and I thought, 'oh yeah now I remember'."
"We just tried our best to do to get it out sounding as good as we could with what we had to work with."
Wahanui Wynyard recorded all of Ray Woolf And The Avengers' singles. He recalls that they were a lot of fun. "[Ray Woolf] used to come in with records he got from his mother or his brother or something and he'd say, this is one I want to record, and they would have a particular sound they wanted to get. I'd say 'Ohhhh! ...' because I had nothing to help me. I'd just have to work out 'how did they do that? How do you expect me to do this? I've got nothing here apart from these two tape recorders'. But you'd get it down and then you'd give to someone like [presenter and radio DJ] Peter Sinclair. I used to do these pop shows at Astor for him every week and I'd throw one in there and it sounded like all the other records that were coming out of an AM radio speaker … once you got it on an AM station you really couldn't tell the difference between that the other ones and what we were doing. But you would soon notice it when you played it on a record player.
In 1967 Astor purchased a 4-track tape machine, offering a huge jump in sound. Levin and Clark pushed for it and the first recording was Larry's Rebels' 'Do What You Gotta Do', followed by the soundtrack to Andy McAlpine's surf flick, Children Of The Sun, featuring Hamilton band The Music Convention. The psychedelic, sitar-driven surf instrumentals were written by the band and then recorded and slowly constructed in the necessary sequence for the film, with Wahanui editing the tapes using razorblades. An extended 7" EP was drawn from the soundtrack and issued by RCA, but it sold sparsely given that even the pirate station Radio Hauraki found it challenging. In the decades to follow it would become yet another expensive collectable.
As the 1960s rolled into the 70s, Wahanui Wynyard kept up a hectic pace, as Astor was the go-to film studio. "I was just so flat out. When you have a film suite next door and you are doing soundtracks for them as well as doing things for radio – it was very busy. And then at night-time, it was time to make records!" In March 1969, he recorded Madrigal by The Rebels (post-Larry Morris). It was done in under two days because the band was off to Australia, but in 2016 it was hailed by writer Nick Bollinger as an essential New Zealand album. Capturing soulful vocals perfectly was now a Wahanui Wynyard trademark, and the reviews at the time noted this over and over.
A key recording credit that Wahanui has little memory of is one side of The Human Instinct's era-defining blues-rock album, Burning Up Years. The band had become a tough blues trio featuring Billy TK's formidable guitar. Burning Up Years was the first hard-rock album recorded in New Zealand, and, yes, it too is very collectable now. Recorded at Astor, the band and Gary Potts confirm that Wahanui did the night sessions, whilst Potts did the days. A recent reissue has added both Wahanui Wynyard and Gary Potts to the credits, an oversight when it was first released.
This intense work schedule at Astor probably could have carried on for a long time, but in 1970 Wahanui took a call that would change his life.
"I got a phone call from an old mate I used to work with at the NZBS. He'd gone to Australia and produced the first commercials for the Ten television network. He rang me one day and said, 'What are you doing?' 'Working', I said, and he asked, 'Do you want to come to Australia?'"
"He said to me that [Sydney studio] United Sound were looking for an engineer. I said, 'Yep!'."
United's boss Ron Purvis soon arrived in Auckland and immediately offered Wahanui a job. His initial response to the offer was, "To leave I've got to have something pretty concrete. I've just bought a home and we've just had our first child: it's a big move …" Purvis responded with "I'll book your fares, all your family, all your luggage, six months accommodation and $200 clear a week".
Wahanui was earning $36 a week in New Zealand and needed little persuasion. He moved across the Tasman in July 1970, on a 12-month contract.
In Australia, the money may have been good but the job had its frustrations. "Nobody would work with me. [They] didn't know who I was. I was not on the list of good engineers."
However, the studio gear available compensated for that somewhat. "I just could not believe what I was seeing. There was this huge room which could seat about 70 people, a big vocal booth, a 35mm projector, a huge screen, a 40-something channel console, an 8-track recorder, four huge Tannoy speakers in front of you and two stereo master track recorders.
"And there was this guy with red hair all the way down to the back of his bum, holes in his jeans … I couldn't believe it, I thought who is this guy? He turned out to be one of the best engineers in Australia at the time [Spencer Lee]. He was doing a mix of a track for [Australian country singer] Lee Conway. He said, 'Have a listen to this and tell me what you think'. He put it up and I just could not believe how good it sounded. I said, 'Bloody hell, where did you do that?' He replied, 'In there'. It was just mind-boggling. I asked, 'Did you ever listen to any of the stuff I did?' and he said, 'Yeah, I loved it!'"
However, the next six months were spent doing dubs, copying commercials for radio stations and suchlike, with Wahanui not getting near the big console he'd seen. Frustrated, he decided to do something about it. "I thought I'm not going to be stuck in this room all the time, I'm going to go and learn how to run that big bloody room in there. So, I used to go into that big room every day there was a session on and I'd set him [Lee] up. I'd ring him, and say, what's your setup for today and he'd say what it was and I'd set it up for him. He was very appreciative of that and he showed me how to work the console.
"I also learned how they did things: it was nothing like I'd done before, microphones about three or four inches away from instruments whereas in the old NZBS system you were trying to get an overall sound so I'd never done that. It was a really 'present' sound."
His chance came exactly six months to the day after he'd arrived in Sydney when the studio owners had an argument with a client. Overhearing the fuss, Wahanui asked who the problem was with. Told by the receptionist that it was [composer and conductor] Patrick Flynn, he said "I know Patrick, I did a job with him at Peach-Wyness-Astor. He had a big orchestra on the stage and the band was in the other little studio, it was really good, they loved it – he loved it – just tell them that I'll do his job for him."
Flynn shouted back, "I'll see you at 11 o'clock after I've finished this Jesus Christ Superstar concert." The job was for Air New Zealand, and despite it taking far longer than expected, the client was thrilled with the result. Word soon got around …
Three weeks later, a caller from advertising agency Leo Burnett asked, "Are you the Māori prince from New Zealand? … You did a job for Patrick Flynn, we'd like you to do our job for Ampol Petroleum Service Stations, a full-on job, promotions, commercials for television and radio: the full promotion."
Wahanui was given a raise but as the work flowed in he was unable to find the studio time at United he needed and eventually went freelance. Band work arrived too, and the name Wahanui Wynyard appears on the credits of a substantial number of Australian records in the 1970s and 1980s, including Australian glam band Hush (their hit debut live album), The Johnny Rocco Band (featuring New Zealand vocalist Leo de Castro) (recorded at Atlantic Studios), Norman Gunston, the Breaker Morant soundtrack, Bob Hudson's huge hit 'The Newcastle Song', Marcia Hines, Jon English, and several country hits by Digby Richards. Even Kamahl benefited from the Wahanui Wynyard touch.
Two recordings made by Wahanui dwarfed any others commercially. The first of these was the theme to the globally successful TV series Home and Away, featuring expat vocalist Mark Williams. A contractual dispute meant that it only had limited release on record in Australia, but it was a hit in the UK. For years, Wahanui was responsible for much of the incidental music in the show, working with another notable New Zealander, Mike Perjanik (who wrote much of the music, including the Home and Away theme) with whom he had worked steadily since arriving in Australia.
Other New Zealand musicians also featured professionally, one of these being the pianist Julian Lee and it was with Lee that Wahanui recorded the biggest-selling release of his career: "A guy from K-Tel [Theo Tambakis] came in one day and said, 'I want to record a Hooked On Swing album, who do I use?' I said the two best guys would be Julian Lee and [Australian jazz trombonist and pianist] Jack Grimsley so that's what happened." Hooked on Swing went on to be an international smash for K-Tel, charting in almost every country in the world and selling millions of records.
By 1977, Wahanui Wynyard was over running from studio to studio. "I was sick and tired of rushing around all over the place, and I thought if I can get a studio that I can go to all the time that would be better for me than going from one side of Sydney to the other: I was getting sick of doing that." A visit to Albert's, the Australian production house and music publisher founded by Jack Albert in the early 1900s, and home to songwriters Vanda & Young and AC/DC, offered a solution.
"Bruce Brown, the manager – an engineer/producer too – said to me, 'We've got three studios here'. One was the main one which he worked in most of the time, and there was Vanda & Young's studio which they only used at night, and then downstairs they had another little studio which was used for doing overdubs. All had 24-track digital recorders. I went there and I did one job and I thought, 'Oh this is bloody good' and the clients loved it. It was new and it had a good vibe about it, so I started working there. My clientele started building up, I was getting really busy and I didn't have to go very far: I just went in at 9am and didn't leave until the last person left, which could be nine o'clock at night or one in the morning.
In Sydney, Wynyard was so in demand that Albert's Publishing Company built him a studio.
"The first year there I pushed Bruce out of his studio, basically. He used to come down and work four days a week, and I used to do night stuff on the other days. Friday, Saturday, Sunday. He'd be back on Monday, Tuesday and Wednesday, Thursday. I said to them one day, 'Look, I'd like to do a bit more time, I'm not able to finish jobs completely'. So, then I started on Monday and did the whole week and the only time he could get in there was at night. Bruce then said, 'This is not going to work, we'll have to come to some other arrangement', So they built me my own studio in 1983, Studio 4."
Later in the 1980s, when the studio moved, it was fitted with a new Fairlight CMI, the Australian-designed digital synthesiser/sampler that defined much of the sound of the 1980s. It was both a blessing and a curse. A quantum leap from the mono tape-to-tape dubs of the NZBS and early Astor days, the Fairlight and similar technologies would also eventually spell the end of the old, large, studio production houses that dominated audio and video sound for decades. They were becoming redundant in a world where much could be created digitally, often on increasingly compact gear. An era was ending.
"I don't think there are many engineers left who would know how to do what I did," Wahanui Wynyard told AudioCulture in 2017.
When the old Albert's studios were sold in the late 1980s, the company moved to much smaller premises in Neutral Bay. In 1990 Ted Albert, the grandson of the founder and the visionary who had driven Albert's massive success in the 1960s, 1970s and 1980s, passed away. As Wahanui recalls, "the end was nigh."
In 1991 he was let go by Albert's and left the recording industry, moving into a new career as a domestic engineer. Wahanui Wynyard now lives near Brisbane, retired and justifiably proud of what he achieved in the years since the teenager left the Bay of Islands to become a trainee audio engineer almost 60 years ago.
The vast catalogue of Albert's was sold to the German-owned multinational media group BMG in 2016 and the company that employed Wahanui Wynyard no longer exists. Astor Studios, or PWA Film Productions Limited as it was later known, left the industry in the 1980s. The Shortland Street and Durham Lane studios of the NZBS and NZBC are long gone: the former repurposed, the latter demolished. The surviving publicly owned New Zealand radio stations, in the form of Radio New Zealand, still record New Zealand artists, usually now just for live to air broadcast (RNZ's last Auckland studio, the Helen Young Studio, closed in the late-2000s).
Wahanui Wynyard is one of the giants of the New Zealand recording industry. His recordings, initially made on rudimentary equipment, would have tested the even the most experienced technicians of the day, and yet the discs he made by bouncing mono tracks back and forth, trying to both preserve quality and capture the unfettered rawness of the performance, have been lauded around the world. The man himself is modest about his achievements, but those who have followed are aware of the debt.
Wahanui Wynyard recording at Alberts, Neutral Bay, Sydney, in the late 1980s
Photo credit: Wahanui Wynyard collection
The Johnny Rocco Band's 'We're Gonna Have a Good Time' featured Leo de Castro on vocals and was recorded by Wahanui Wynyard in 1975 in Sydney. The album it was taken from was globally released.
The Rebels album Madrigal, recorded by Wahanui Wynyard in two days
Wahanui Wynyard with Peter Wall at Alberts in the late 1970s
'Social End Product', The Bluestars' 1966 single on Allied International, has become a hugely collectable garage classic over the years and has appeared on over 20 compilations including the famed Nuggets
Wahanui Wynyard's Ampex Golden Reel Award for Hooked On Swing
Wahanui Wynyard at Alberts in the late 1970s
Wahanui Wynyard recording at Alberts, Neutral Bay, Sydney, late 1980s
The Bluestars' classic 'Social End Product', recorded at Astor by Wahanui Wynyard in September 1966
Wahanui Wynyard and Mike Perjanik recording music for Home & Away at Alberts, Neutral Bay, Sydney. Behind Mike is bassist Phil Scorgie.
Wahanui Wynyard recorded a string of singles for Ray Woolf & The Avengers at Astor, some of which have seen recent reissue on collectors' vinyl
The Music Convention's 'Children Of The Sun', recorded by Wahanui Wynyard at Astor
Wahanui Wynyard's Ampex Golden Reel Award for the soundtrack to the movie Breaker Morant
The Smoke's Hendrix influenced 'Control Your Love', recorded by Wahanui Wynyard in 1968 at Astor
The High Revving Tongues' debut single '(The Psychedelic) Illusion', recorded by Wahanui Wynyard at Astor Studios
'I Can Take It' by The Blue Stars, recorded by Wahanui Wynyard at Astor in 1965 and released by Decca in the UK and New Zealand
Children of the Sun, featuring music by The Music Convention
Wahanui translates to 'big mouth', and the name came from his grandfather, who was given it because he was a great orator. The late Canon Wi Huata, from Ngāti Kahungunu, told Wahanui that "whilst you are not a great orator you are a maker of great sound."
Bill Wolfgramm
Bernie Allen
The Bluestars
John McCready
Red McKelvie
"These, believe it or not, are men!" – The Pretty Things in New Zealand, 1965
Benny Levin
The Smoke
The Hi-Revving Tongues
Larry's Rebels
The Music Convention
Ray Woolf
Jimmie Sloggett
Radio Hauraki: The Pirate Days – The Good Guys
The Human Instinct
Billy TK
Leo de Castro
Mike Perjanik


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text:
My Wrap Up on American Idol Season 10
Posted on May 27, 2011 by brent
I just want to leave a couple thoughts about last night's American Idol finale.
I thought the non-finalist performances were okay. Just to pick a couple of highlights: "The Edge of Glory" is by far my favorite Lady Gaga song and she did a good job of performing it last night. Steven Tyler started off great when he sang "Dream On" but it was so short! I was expecting him to transition into another hit and really blow everyone away. Loved his intensity though, he is a true entertainer. At the start of show, the eliminated Idol performers sang Gaga's "Born This Way". By far the best performance featuring the Idol cast. Thought Marc Anthony's performance was average and I thought JLO's dancing in it was too forced. Do I even need to say anything about Casey Abrams and Jack Black's performance? It sucked. Casey Abrams was by far the Idol contestant I hated the most.
As for the performances by the finalists: I really think the Tim McGraw and Scotty McCreery duet will go down in American Idol history as one of the best ever. It was that well done. Scotty stood toe-to-toe with McGraw and matched him every step of the way. It was a great moment. In my post from yesterday, I said I was pulling for Lauren to win…that all changed after McGraw and McCreery sang "Live Like You Were Dying".
Lauren Alaina's duet with Carrie Underwood was good. However, it did not even come close to the electricity that the McGraw-McCreery duet produced. Alaina showed off her great vocals and I would say she actually held her own with Underwood but ten years from now we will still be watching the "Live Like You Were Dying" performance while everyone will have forgotten about "Before He Cheats".
Congratulations to Scotty McCreery for winning the tenth season of American Idol. This kid is going to be a country music superstar. There really is no doubt in my mind. His voice is simply unbelievable. He is an artist who I would go out and buy his CD right away. Yes, he does need to work on his stage presence, that is something that was plainly exposed when he did perform with McGraw. But that will all come. I predict a Kellie Pickler type career for Lauren Alaina. She is very talented but losing American Idol hurt her career last night whereas if Scotty would have lost it would not have hurt him as much.
In closing, congrats to all the executives at American Idol who really revamped the show this year. They made some major changes and took some major risks that paid off. Don't Blink.


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We offer top furnace brands like Carrier, Amana and Goodman for all types of comfort needs. We'll do a thorough assessment of your home to determine the best heating system to meet the demands of your space. Click here to learn more about heating services at Jennings.
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If you are looking for a HVAC service company in Cuyahoga Falls, Ohio then look no further than Jennings Heating & Cooling Co. Inc. You are assured of quick and efficient service at any time of the day. What's more, you are dealing with knowledgeable technicians who are experts at what they do. Fill out the form below to speak with a Jennings associate!


Reach your full yoga potential with the Nadi X Smart Yoga Pants, which is designed with woven-in technology.
Reach your full yoga potential with the Nadi X Smart Yoga Pants. Designed with woven-in technology, this personal digital yoga teacher helps you improve your yoga skills. Using Bluetooth connectivity, the pants pair with the Nadi X iOS app to lead you through a session. Likewise, the app includes a library of yoga poses and visuals. Additionally, an auditory coach gives you instructions throughout the session so you can both see and hear what's going on. The invisible and strategically placed technology responds to your postures, providing real-time haptic feedback. The Nadi X pants also offer gentle vibrations to help focus the attention on specific areas of the body. With your Nadi X leggings and smartphone, you have a yoga instructor that is with you, anywhere, anytime.
" With a coach always with you, you can get the most out of your yoga sessions. "


What is the average revenue per user?
The Average Revenue per User is a business ratio that has a high significance with regard to the actual impact of a website or an app. The average revenue per customer is a figure that is always quoted in connection with a certain period of time. Usually, monthly or annual turnover per customer is considered.
The key figure was taken from the world of stationary retail stores but is much more meaningful in the area of online trading. Because most people in supermarkets & Co. still pay with cash and do not leave any personal data behind, there are only very weak key figures without great significance: the average receipt of all customers or a single receipt without any correlation with the name.
In the online world, practically all customers are assigned customer numbers and data records are created. Only a very small proportion of customers shop as "guests" and insist on immediate data deletion.
The average revenue per customer is a slightly isolated figure per time unit and cannot yet be interpreted. For example, in connection with a certain fixed cost block per customer and time unit (for media offers), the meaningfulness increases.
This key figure can also be used in the context of the advertising costs per new customer for sales promotion control or success control. In the case of affiliate links, links from Google Ads or editorial offers, a promotion code can be transferred which can enable statistical evaluation.
Even with a stagnating average revenue per user of an individual user, this user can continue to support the economic success of the company. In every month in which his turnover is so high that the costs are covered, he makes a contribution to achieving the company's goals. With the help of forecast calculations and the inclusion of the "unsubscription rate" or even customer churn, it can be determined whether certain customer groups are really attractive.
With average sales per user, the regional distribution can also be highly interesting. Especially since the introduction of the five-digit postal codes, a time-saving, effective evaluation by city district is possible. The segmentation does not cover individual households. Nevertheless, certain connections between city and country or within different "purchasing power areas" of a city can be established and used.
This can be particularly helpful if the online and offline worlds are to be linked and you want to get closer to your target group.
In many industries, there is a real cut-throat competition, because in many cases the market seems to have reached a saturation point. And the turnover of market participant A can only be increased "at the expense" of company B.
In order not to fall into the discount trap as a company or not to make an increasingly negative contribution margin with a user, the revenue per user should be linked with other key figures or data.
For example, it is a good idea to compare the average revenue per user with a profit and loss statement at the item level: The increase of the average revenue only makes sense if the additionally sold articles can achieve a positive contribution margin or if it is a pure sale to reduce losses (e.g. extremely perishable goods such as fashion at the end of the season).
In summary, it can be said that the Average Revenue per user is an interesting starting figure. It can be used to calculate both direct relationships with costs per shipment or customer contact (e.g. shipping costs, provision costs for a media offering) and complex relationships.
A high average revenue per user is therefore also the basic prerequisite for successful company management since a company cannot grow without constant revenue streams.
App Store Optimization [Complete Guide 2019] – check Tip 7!


What would you recommend to anglers fishing in Crystal River, Florida?
Depending upon which you choose (near shore or offshore) fishing in Crystal River is amazing. Inshore was a delight for us with the clear waters and calm surface. We had the opportunity to fish rocky areas, mangroves and even shallow diving baits with success. We did have very significant fog the day we went, so we opted to do more near shore than the deeper water needed to catch our target fish (grouper, the last day of the season!). There wasn't heavy boat action that day, just enough but definitely not real fishing pressure in any one area. As the fog lifted, we were treated to crystal clear water, lots of marine life, birds and dolphins too. I would go again in a heartbeat in December!
I rated this August experience as excellent but that was due to the guide. Go with Cpt Nick and High Octane fishing. If you try it on your own you may run aground and will likely not be on the fish - at best the river itself is average in August - if you know how to find structure and read the tidal flow. The Crystal river in shore area is very large and frequently runs shallow. Identifying the areas where game fish are holding is not easily done.
Pete's Pier is a great place to launch from and Hampton Inn and Plantation On Crystal River are very close by. Pete's charges $5.00 to park on their lot, but that is covered if you book through FishingBooker.
It is a beautiful, natural, rural area. Great fishery, things heat up in the warmer monthes.. April is stormy and unpredictable.
Make sure to know what your going for and the season that is legal for your choice of catch.
The water was too hot for the fishing to be very good. Next year we will come earlier in the year. It was still fun though.
We took 2 trips with Captain Jake Scott (Salt Crazy Fishing Charters). Both were excellent. If you are new to Crystal River ask the guide what they recommend to fish for.
Bring a rain jacket just if you fish in the summer. Summer time is our rainy season.
The water is beautiful but it is hot out so come prepared for lots of heat and sun.
Make sure you take a change of clothes with you in case you get rained on as we did.
Great time. A little more windy then we had expected. But caught some great trout and had fin doing so.
Choose the best month for the species you want to catch and best overall weather conditions.


text:
Arts feature
Why I'm stepping down after 28 years as The Spectator pop critic
Marcus Berkmann
Long player: 33 years on ABC's 'The Lexicon of Love' sounds only slightly less than current
This is my 345th and last monthly column about pop music for The Spectator. I believe I might be the third-longest continuously serving columnist here, after Taki and Peter Phillips. Others have been writing for the magazine for longer, but have occasionally been given time off for good behaviour. You may be astounded to learn that I have not been fired. I, certainly, am astounded. I have been waiting for the tap on the shoulder, or maybe the firm but regretful email, since my first column in May 1987. Eventually I came to realise that the less the editor of the time was interested in my subject, the safer I was. As sheer delight in survival morphed into freakish longevity, I decided it was best to maintain a low profile, to the extent that when the 25th anniversary of the column loomed a couple of years ago, I asked Liz Anderson, legendary arts editor and tireless moral support to any number of anxious columnists, to say nothing to anyone. It's not that I didn't want people to make a fuss about it. I'm not that modest. It's that I didn't want people to make a fuss about it and then fire me straight afterwards.
This year, though, I have started to feel that I have said almost everything that I have to say on the subject, possibly several times. Once it becomes hard work to write a column, it won't be long before it becomes hard work to read it. I have also spent a decent chunk of the year in The Spectator's offices leafing through dusty old binders for a book I am compiling for Christmas 2016, entitled The Spectator Book of Wit, Humour and Mischief. Reading so many wonderful columnists in intense bursts, you see that even the best of them eventually runs out of steam. In my case, I suppose, I could also say it was an age thing, except that it wouldn't be true. I was 27 when I started writing this, and I am 55 now, but I was an unusually crabbed, creaky and ill-tempered 27-year-old, who already felt left behind by the way pop music was developing, and preferred the music of his own teenage years, as almost everyone does. This hasn't changed much. I still think hip-hop is a waste of ears. Grunge was spectacularly uninteresting. Of Britpop I now listen to only Blur and Supergrass. And so on.
The truth, and the problem for any such columnist, is that there's far too much music out there for anyone to keep a handle on, and pop follows what I learned this week is called Sturgeon's Law, after the science-fiction writer Theodore Sturgeon. This states that in every arena of artistic endeavour, 90 per cent of everything produced is crap. All you can do is find the 2 per cent you like and listen to that, which I do with pleasure, every day. But I have always been aware that my 2 per cent is probably not your 2 per cent, and it may not actually be anybody else's2 per cent. All men are islands, and our taste in music makes us particularly small, isolated islands separated by vast unnavigable stretches of stormy sea. This is why people still love going to gigs: because for one night only, they are surrounded by strangers who love this music as much as they do. Then it's back home, where everyone tells them to turn that bloody racket down.
Pop's place in culture has changed drastically during my tenure. When I was growing up and buying NME and Sounds every week, there was no such thing as a pop column in The Spectator, and newspapers ignored the music as though it wasn't there. Then the baby boomers took over the media, Live Aid happened, Bono started wearing those sunglasses, Sting released an ever more pompous string of jazz-inflected albums no one played more than twice, and it became clear that pop had captured the mainstream. At the time we assumed that this would be a permanent state of affairs, and indeed, Bono is still wearing those sunglasses. But the music has drifted back out of reach and away from people's lives. Even substantial stars of today, the Sam Smiths, the Lana Del Reys, are listened to only by their core constituencies. How many new songs are there every year that absolutely everyone knows? Half a dozen?
That's not to say that pop music is 'over', as one or two of my friends have been heard to say. They have their Neil Young records and feel that nothing more is necessary. It's just that pop's present is unusually burdened by the excellence of its past. Music fashioned long ago for instant gratification has proved to possess extraordinary staying power. Over the years I have met one or two pop performers socially and if I have been drunk enough, I have asked them how it feels to have songs they wrote (in some cases, dashed off) in their youth still being played and loved decades later. And they can't quite get over it either. How did that happen? I bet even Paul McCartney asks himself that question from time to time.
The music industry, delightful behemoth that it remains, squeezes this music dry, of course. I'm not sure there are many manifestations of modern life more dispiriting than the jukebox musical, wherein much- loved hits of yore are attached to a story so thin and ridiculous that only Ben Elton could have written it. At the same time, we shouldn't be too hard on people who are just trying to make a living. The other day, I met someone else who had grown up and grown old with ABC's 1982 album The Lexicon Of Love, and we sat and discussed it with wild glints in our eyes. Needless to say, the song we both liked the most was a non-single album track that many people will never have heard of ('Date Stamp', in case you are similarly afflicted). Teenage elitism never dies, and as far as we were concerned, neither does that album. Thirty-three years on, The Lexicon Of Love sounds only slightly less than current. ABC's Martin Fry has never come close to equalling it, but he is still out there, playing it live. It's one of my favourite albums, and it's his pension.
So while I will no longer be writing about music, I will still be obsessing about it, and buying too much of it, and being slightly disappointed by most of it. There is a new Squeeze album out shortly. Fingers are crossed. There's also one by Jeff Lynne, who now calls himself 'Jeff Lynne's ELO' to avoid confusion, although there isn't any. The Amazon order is already in. That said, I heard a song by Gabrielle Aplin on the radio the other evening and that sounded wonderful, so I might get her new record too. She is only 22. It never stops, and for that, I suppose, we should only be grateful.
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IT WAS NOT the flurry of goals, the shimmering skills or even the array of crosses which remained seared onto Roy Hodgson's psyche.
The striker scored seven goals en route to qualifying for Brazil, including a headed opener in the pivotal 2-0 success over Poland which sealed progress, and has 10 goals in 15 appearances under Hodgson.
The manager's firm but fair-minded approach appeals and a mutual respect lies at the heart of their relationship.
As it stands, theirs is a bond that can only be broken by injury. Hodgson is praying that unpalatable prospect will not arise and at the same time played down suggestions Rooney's exertions in trying to rescue United's season could take their toll.
"Look, they will be tired, they will be exhausted," said Hodgson. "But strangely enough, in the past we've lamented, as England, our season, the intensity of our league and how that puts us at a slight disadvantage.
"But going through the players the other day, the fact that there are 23 Frenchmen playing regularly in the league, 15 Belgians and 14 Spaniards, etc etc, means we're not going to be quite so much alone as we once were.
"These players will be joining their teams at the end of the year equally tired. Luis Suarez is not going to be any fresher at the end of the season than Wayne Rooney.
"Wayne has had an enforced break through injury. You can argue he's had his winter break which some players didn't get.
"Sure you'll be a bit tired. But so will Suarez and David Luiz and other players, because they are also playing in the Premier League and playing every game.
It cannot, of course, be left for Rooney to shoulder the entire burden. In that sense, Hodgson has been buoyed by performances from the likes of Daniel Sturridge and Raheem Sterling as the countdown to the selection of his 30-man provisional squad continues.
"There have been some really, really good performances from players that I've seen," he said. "If we were picking the squad at this moment in time, it would be pretty hard for me to make a decision and leave people out.
It is not just Rooney who must right that wrong.
Instead, as he witnessed Manchester United being frustrated by Fulham last weekend, a far-post header caught the attention of the England coach and served to fire his imagination. That one split-second was enough to convince Hodgson the summer can belong to Wayne Rooney.
"One thing I was disappointed that didn't get picked up was that the equalising goal for United last Sunday came from Rooney winning a header against Dan Burn in the box," he said.
"Burn was just about to head it out and Rooney got in there, got a touch and pushed it wide for [Juan] Mata who shot, and [Robin] Van Persie put it in when it went across goal.
It seems like a trifling point that is of little consequence, but the sight of Rooney lifting his hulking 5ft 10ins frame to out-jump a towering rival served to illustrate the commitment, determination and mention skill that Hodgson is anxious to tap into this summer.
That Rooney once again finds himself billed as the nation's talisman going into a major tournament adheres to the script written since he exploded onto Euro 2004 with a cluster of goals before a broken metatarsal put paid to his, and England's, progress.
Where the story must veer in a new direction is his impact at a World Cup. Injury and ill-discipline scarred Germany in 2006, and off-the-field problems were subsequently linked to his anaemic displays in South Africa. Brazil must be different.
"I think this is going to be a good year. Wayne has taken on responsibility with Manchester United and he always takes responsibility with the national team.
"He is 28 and that is a terrific age and this is the world stage, the perfect opportunity for him to prove to people in the world what we already know. That he is a very, very gifted footballer, a very all-round footballer capable of playing in many positions, and someone who is a leading light in his team which is one of the best in the world.
"It would be nice to see him reproducing that form for England and I am confident he will.
If every England manager since Sven-Goran Eriksson a decade ago has spouted a similar sermon, Hodgson can at least point to having managed Rooney as well as any of his predecessors, if not better.


text:
Feature: Botswanan women masons partake in energy transition through biogas project
Source: Xinhua| 2022-10-18 21:08:00|Editor: huaxia
Atamelang Matale works in a biogas digester pit at Betesankwe Village in the Southern District, Botswana, on Sept. 2, 2022. (Photo by Sharon Tshipa/Xinhua)
GABORONE, Oct. 18 (Xinhua) -- At Botswana's Betesankwe Village in the Southern District, about 110 km west of Gaborone, the country's capital, 29-year-old Atamelang Matale is absorbed in building a new biogas digester in partnership with three colleagues.
The new digester, with a size of 30 cubic meters, will be her 20th and so far the largest she has ever built, all using agro-waste, such as cow dung and chicken litter to produce biogas directly used for cooking, heating, and lighting in southeastern Botswana.
"This is the biggest biogas digester I have constructed to date. The digesters I built before only ranged between 6, 10 and 20 cubic meters in size. This is huge, so we will be camping out here for the three weeks it will take to complete it," she told Xinhua in a recent interview.
The undertaking by Matale is a result of her training through the Botswana Biogas Project funded by the Global Environment Facility and the United Nations Development Programme. The Biogas Project launched in January 2017 sought to promote the production and use of biogas as an environmentally friendly source of energy for farms, households and institutions that produce or have access to agricultural waste.
Matale said being a biogas digester mason has made her financially independent despite the gender discrimination that prevails in the male-dominated construction industry.
Tracey Rukero, a young female biogas digester mason who completed her training last year and has since constructed four digesters, shared similar sentiments. "Many people don't think we can do the job," she said.
Since 2018, 70 biogas digester masons have been trained by the Botswana Biogas Project in six vocational training centers, 29 percent of them women.
Speaking at a high-level event on climate change in Kigali, Rwanda's capital, in June this year, Botswana's President Mokgweetsi Masisi reaffirmed the nation's commitment to a gradual transition from over-reliance on coal for electricity generation. He drew attention to the need to increase the country's share of renewable energy, and significantly improve the efficiency of the energy system.
The government regards the development of a sustainable and commercial biogas sector as a key mechanism for achieving the reduction of harmful greenhouse gas (GHG) emissions and effectively managing agricultural waste, especially from the livestock industry.
In its first nationally determined contribution to the global reduction of GHG in 2010, Botswana pledged to reduce its emissions by 15 percent by 2030, taking 2010 as the base year. Botswana's GHG emissions make up 5 percent of Africa's total global emissions, according to the country's Climate Change Policy.
For this commitment to be realized and for biogas to make a plausible contribution to the reduction of GHG, Rukero and Matale's experiences point to the urgent need for mindset change among citizens, some of whom feel that the biogas digester initiative has a bad smell, and producing it means handling dirt.
Matale said the biogas project has been a success already and can go far as it has brought financial relief to Batswana because they are using renewable energy resources to generate energy that is clean and free.
Matale said that during the construction process and at handover, beneficiaries are taught how to feed and operate the digesters. She, however, further explained that the digesters should be carefully maintained and once they run out of energy, they should be fed with new agro-waste such as cow dung in order for them to continue working. ■
Atamelang Matale works to build a biogas digester at Betesankwe Village in the Southern District, Botswana, on Sept. 2, 2022. (Photo by Sharon Tshipa/Xinhua)
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text:
Removal of Gbagbo by force will be illegal – Lawyer
By Ghanaian Chronicle
Mr. Ebo Barton Odro, Deputy Minister for Justice & Attorney General
A legal practitioner, Mr. Noble Amoani-Koto, on Wednesday challenged moves by the Economic Community of West African States (ECOWAS) to remove the Ivorian incumbent President Laurent Gbagbo by force, saying the action would be illegal under international law.
He said such a step would also breach the principle of non-intervention.
Mr. Amoani-Koto's submissions, which were contained in a statement to the media, raised three major points to back his position.
He said there were generally three grounds which could trigger the use of force under international law, and disputed election results was not one of such grounds.
The first ground, he said, was self-defence, which included collective self-defence, if a country suffered an armed attack.
To support his point, he quoted Article 51 of the UN Charter which states inter alia: 'Nothing in the present Charter shall impair the inherent right of individual or collective self-defense if an armed attack occurs against a member of the United Nations…'
He said ECOWAS' own supplementary protocol on non-aggression to the protocol on mutual assistance on defense, mandated it to use force to defend itself or themselves in the event of an armed attack, and Article 18(2) of the supplementary protocol prohibits ECOWAS forces to intervene in a member state, if the conflict remained purely internal.
'Clearly, ECOWAS cannot rely on this ground as there has not been an armed attack and the conflict is also purely internal,' Mr. Amoani-Koto said.
His second ground is where the UN Security Council, acting under Chapter VII of the UN Charter, authorized the use of force against another state for the maintenance of international peace and security.
Mr. Amoani-Koto said within this scope, the UN also allowed regional bodies such as ECOWAS to adopt measures to maintain peace and security in their regions, under Article 52.
However, Article 53 demanded regional bodies to seek authorization from the Security Council, before embarking on any enforcement action against a member state, he added.
Mr. Amoani-Koto argued that the current situation in Cote d'Ivoire, though disturbing, was an internal matter which did not trigger the passage of a resolution by the UN Security Council to use force in the country. 'It is also unlikely that such a resolution could be passed successfully at a UN Security Council meeting.'
The third ground, he said, was the prevention of humanitarian catastrophe, although there was no consensus among international jurists and writers on the use of force to prevent humanitarian catastrophe.
'Thus under customary international law, a state or group of states may not need the UN's approval where there is humanitarian catastrophe needing urgent response in circumstances where human rights abuses are so grave as to breach all acceptable norms under international law and the country is sliding into a state of anarchy.'
Mr. Amoani-Koto said Cote d'Ivoire had not yet reached this stage to warrant outside intervention. He suggested that the international community should quickly find pacific means of settling the dispute.
Mr. Amoani-Koto said in the current situation, there is no civil war, as was in the cases of Liberia and Sierra Leone in the 1990s, but a disputed election result where there were two different results from two different bodies.
'The Ivorian crisis is an interesting puzzle which could only be solved by first, the international community standing down on its earlier stand, meaning that ECOWAS must ignore and cancel its communiqué that recognizes Ouattara as the winner of the elections and the threat to use force if Gbagbo does not step down.
'It also suggested that all the parties must do away with their intransigent stand and come back to the negotiating table to resolve the matter.'
Mr. Amoani-Koto said the country could start from a fresh point of the diplomatic process by encouraging the parties to agree to rerun the election or the recount of votes in the disputed areas or considering power sharing as the way forward. However, he said 'power sharing is not the way forward'. GNA


text:
Q: Unpacking COMP-3 digit using Record Editor/Jrecord I have created layout based on cobol copybook.
Layout snap-shot:

I tried to load data also selecting same layout, it gives me wrong result for some columns. I try using all binary numeric type.

*

*CLASS-ORDER-EDGE

*DIV-NO-EDG

*OFFICE-NO-EDG

*REG-AREA-NO-EDG

*CITY-NO-EDG

*COUNTY-NO-EDG

*BILS-COUNT-EDG

*REV-AMOUNT-EDG

*USAGE-QTY-EDG

*GAS-CCF-EDG

result snapshot

Input file can be find below attachment
enter link description here
or
https://drive.google.com/open?id=0B-whK3DXBRIGa0I0aE5SUHdMTDg
Expected output:

Related thread
Unpacking COMP-3 digit using Java

A: First Problem you have done an EBCDIC --> ascii conversion on the file !!!!
The EBCDIC --> ascii conversion will also try and convert binary fields as well as text.
For example:
Comp-3 value   hex     hex after Ascii conversion

 400          x'400c'       x'200c'       x'40' is the ebcdic space character
                                          it gets converted to the ascii
                                          space character x'20'

You need to do binary transfer, keeping the file as ebcdic:

*

*Check the file on the Mainframe if it has a RECFM=FB you can do a transfer

*If the file is RECFM=VB make sure you transfer the RDW (Record Descriptor word) (or copy the VB file to a FB file on the mainframe).

Other points:
You will have to update RecordEditor/JRecord

*

*The font will need to be ebcdic (cp037 for US ebcdic; for other lookup)

*The FileStructure/FileOrganisation needs to change (Fixed length / VB)

Finally

*

*BILS-Count-EDG is either 9 characters long or starts in column 85 (and is 8 bytes long).

*You should include Xml in as text not copy a picture in.

*In the RecordEditor if you Right click >>> Edit Record; it will show the fields as Value, Raw Text and Hex. That is useful for seeing what is going on

*You do not seem to accept many answers; it is not relevant whether the answer solves your problem; it is whether the answer is correct answer for the question.


Thomas Lemmer is known as an Electronic/Ambient music producer. With six albums and multiple appearances on top-class Chillout/Electronic compilations, Thomas Lemmer is considered one of the most active and established artists of his genre. His two albums STILL and ZERO GRAVITY reached the iTunes Electronic Top 10 in Germany. His album PURE reached the Top 10 of the iTunes Electronic Charts in Switzerland and #2 of the Album Top 10 in the official German Chill Out Charts (Deutsche Chill Out Charts). His music is played worldwide on established radio stations focusing on Chillout and Electronic music.
In 2009, Thomas Lemmer released his first solo album CHILLOUT LOUNGE. The album was a major success in the chillout, lounge, and downtempo scenes. Many tracks from this debut album can be found today on dozens of successful and international compilations. His track FATIGUÉ features on the world famous Café del Mar – Vol. XVI compilation, where It became #1 in Spain, and entered the top 10 in many other countries.
In 2010 he started the Motif project with Aaron Taylor from England. Their music spans across the Downtempo, Electronica and Trip-Hop genres. Their first ever production GIVE IT AWAY, features on the infamous Café Del Mar label, for their landmark '30 Years of Music' compilation.
In 2011 Thomas Lemmer released his second studio album RELIEVE and proves again, that he produces chillout music on the highest level. 17 tracks transport you into a unique, free and relaxing world of sounds which let you slip into an absolute free and relaxed world. Various producers worked on remixes for the RELIEVE – REMIX EDITION. The single IS IT TOO LATE feat. Lena Belgart was a major success and highly respected in the Downtempo scene.
After almost 2 years of hard work, he released his album STILL in October 2013. "Be still, relieve", the key message of this album is not just a quotation from a song of the album, but also stands for Thomas Lemmer's music. Again he developed his music further which spans from classical elements to pure electronic. The album contains six vocal tracks, sung by the touching and beautiful voices of Naemi Joy and Sabrina Vieweber. STILL reached the Top 10 of the iTunes Electronic Charts in Germany and received excellent reviews and feedback.
STILL REMIXED (released 2014) is the answer to this overwhelming success. 19 remixers spread around the globe worked on this album. Amongst them: Evadez, SINE, Der Waldläufer, Softwaver, HEIN+KLEIN, Normandie, Riccicomoto, Physical Phase, SeeNaY, KLANGSTEIN, Xelomen, Florian Shipke, Novaline, Setsuna, Sunlight Project and Danny Stubbs. Additionally, Thomas Lemmer contributed some of his own remixes and unreleased alternative mixes.
In December 2014, he released ZERO GRAVITY, his fourth album. It's a purely instrumental album, distinguishing it from its predecessors. A soothing blend of exquisite Ambient and experimental sounds supported by electronic beats. Weightless, each tone magically transforming the space around you into an endless ocean of bliss. Thomas Lemmer even shot the images used in the album booklet and on the cover himself.
In 2016, Thomas Lemmer released his fifth album called PURE. 15 tracks, some featuring the singers Naemi Joy, Richelle Claiborne, Tina Sona and Sabrina Vieweber. Seldom are artist albums so diversified but yet authentic. He spent one and a half years on the album. The result is a mixture between Ambient, Deep-House and catchy Pop songs. Connected through a sound which carries his own distinctive handwriting. PURE will draw your attention to the essential things in life. The first single release of the album, FOREVER feat. Naemi Joy, describes how infinite and beautiful our planet really is. If you look at the width of the ocean or the breathtaking silence in the desert, then these are the real pure moments. PURE delivers the perfect soundtrack. The album reached the #2 of the Album Top 10 in the official German Chill Out Charts (Deutsche Chill Out Charts) and entered the iTunes Electronic charts Top 10 in Switzerland.
In 2017, he released his sixth album called AMBITRONIC. A statement and an album introducing a new era of electronic music. Thomas Lemmer constantly tries to evolve and develop his music further and so AMBITRONIC became a mixture of deep Ambient and sophisticated Electronic sounds, connected through a sound which carries his own distinctive handwriting. Amongst these tracks, you'll find a collaboration with nobody less than SINE. The artwork of the CD emphasizes his artistic abilities and visual skills.


This statement was originally published on cpj.org on 20 January 2015.
The Committee to Protect Journalists calls on Thailand's military-appointed legislature to scrap proposed legislation that would allow for mass surveillance of online activities and platforms. The Cyber Security Bill was approved this month by Prime Minister Prayuth Chan-ocha's Cabinet and is pending in the National Legislative Assembly.
If passed into law, the bill would establish a government-run cyber security committee charged with detecting and countering online threats to national security, stability, the military, and economy, according to press reports. Under Section 35 of the bill, the committee would be authorized to access information on personal computers, cell phones and other electronic devices without a court order, reports said.
"Proposed cyber-security legislation in Thailand represents a clear and present danger to media freedoms," said Shawn Crispin, CPJ's senior Southeast Asia representative. "If Prime Minister Prayuth is sincere about returning the country to democracy, he should see that Parliament scraps this bill, which is reminiscent of a police state, and instead enact laws that uphold online freedoms."
Prayuth's military-dominated government has imposed a series of restrictions on the press, Internet, and social media since seizing power in a May 22, 2014 coup, according to CPJ research. Those measures include martial law order No. 29, which empowers the Ministry of Information and Communication Technology to monitor and access online traffic and social media platforms for threats to national security.
The new bill aims to enact those surveillance powers into permanent law. Local press reports said it would likely be used to extend the country's lèse-majesté law, nominally designed to shield the Thai royal family from criticism but frequently abused for political purposes, to social media and other online communication platforms.
Violations of the law, outlined in the criminal code's Article 112, are punishable by three to 15 years in prison. Journalists Somyot Prueksakasemsuk and Nut Rungwong are currently serving harsh prison sentences under the law, CPJ research shows. Authorities have also applied provisions in the 2007 Computer Crimes Act to suppress and punish online criticism of the Thai monarchy, which authorities deem as a threat to national security and stability, according to CPJ research.