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Pick your track. Share your jam. Use FREESPIN to get a 100% FREE jamtrack and enter the Jan '22 Jam of the Month. Click or tap to find out more!
Jam of the Month - January '22 Free Spin
Tuesday 4th January 2022 Promotions
Welcome to the January '22 Jam of the Month! Pick your track, share your solo, and be in with a chance to win a SIX MONTH MEMBERSHIP at JTC Guitar!
This month, we're letting you pick the backing and the winner will be chosen completely at random. Just head over to our jamtracks page and use the code FREESPIN to get your free backings.
Here's how it's going to work.
What is Jam of the Month?
JOTM is your chance to join a community of like minded jammers and share your solo over one of our MANY backing tracks. In doing so you put your name in the hat to win a six month Premium Membership at JTC Guitar, plus an Elixir Strings bundle.
Use the code FREESPIN to download a track on us! We have well over 1000 to choose from in our guitar jamtrack store.
Your track will then show in the jamtracks part of your library.
Film yourself jamming over at least 30 seconds of the track. But if you want to go longer, feel free!
Share your video on the JTC Jam of the Month Facebook Group.
Or use #JTCJamOfTheMonth and tag @jtc_guitar on Instagram
At the end of January 2022, we will pick a winner at random. For every take you share, you get another entry. The randomly picked winner will receive a six month Premium Membership and a bundle of strings from sponsors, Elixir Strings.
Your entry has to be a NEW take recorded for JOTM Jan 22
It has to be with a backing published by JTC Guitar either as a jamtrack or as part of a JTC Guitar release (e.g. Masterclasses, 20 Licks etc).
Everyone gets ONE free jamtrack from the JTC Guitar jamtrack store, but you can enter as many times as you like with as many tracks as you like.
You MUST state what backing you are using
Each take that you share is an entry into the prize draw. 1 take = 1 entry.
ANYONE can give it a go. Any skill level, and it doesn't even have to be on a guitar.
You must play over at least 30 seconds of your track.
The winner will be chosen at random in early February 2022
The deadline for entries is 23:59 GMT on Jan 31st 2022.
At the end of the month we will also highlight our favourite takes on JTC's social media channels! So even if you don't win the prize draw, it's a great opportunity to show off your playing.
Jam of the Month is all about community! So please get involved and remember to comment, share, like and support one another. We hope you enjoy this freebie and we can't wait to see all your jams!
Get to Know: George Karayiannis
Friday 26th November 2021 News
The JTC roster is built on the talents of incredible players from all around the world. So when one of those talents, George Marios, suggests another player to us, we're happy to listen.
And so started our relationship with George Karayiannis! His JTC debut, Unravel the Pentatonic has been a big hit, but of course not everyone can know who everyone is, so we wanted to give George an opportunity to share a bit more about himself.
So what's he all about?
So who is George Karayiannis?
I'm already questioning my existence enough so please don't do this to me! Well, I'm a human from Greece, in progress since 1991.
I'm also a musician, guitar tutor, session guitar player and composer, with an intrinsic obsession to constantly try to explore the never-ending depths of music.
Finally I absolutely love working out, reading psychology and philosophy books, being close to nature, singing and my dog, Perla.
When did you first realise you wanted to be a musician?
It was December 2005 when I got my first guitar. She had 5 out of 6 tuners but this didn't really bother me at the time. I spent the whole night dancing around with the guitar and acting as if I knew how to play over some Bon Jovi, Santana and Scorpions songs. I literally slept with the guitar on me. Haven't thought about doing anything else since.
Who have been your biggest influences as a musician?
Of course there are many and they are really different but if I had to choose let's say 3 of my biggest influences then with no particular order would be:
I remember watching him perform at G3 at Denver over and over again and thinking "That's what I want to do!". He was my idol during my first years of trying to figure out how to play.
Julian Lage
He is the reason I love jazz. His playing is so direct and mesmerizing that I just can't get enough! I've seen Lage at a seminar here in Greece and when he was asked about the freedom he has on the guitar and how to achieve it, he said "Freedom is not a milestone, but a choice.".These words really got stuck in my head since then and I tend to recall them most of the times when I write or play music.
I know this might seem a little weird to some but this artist has always been an inspiration to me due to his creativity and involvement in so many different styles and aspects of music and art in general.
And any favourites on the JTC roster?
If I had to choose one I think I wouldn't surprise anyone picking the Guitar God himself (a.k.a. Guthrie Govan).
That being said, the truth is I've learnt so much from studying the incredible releases of Luca Mantovanelli and Jake Willson, so let's make it a top 3. Infinite respect to the whole team for creating such unique and helpful content for the ones who need it though.
How did the idea for the Masterclass come about?
I've always loved the sound of the pentatonic scale and I've always tried to figure out ways to use it in a more creative way. So I've gathered a lot of concepts, exercises and ideas on this journey that started to pop out in my playing. Then I realised that not many players use these concepts so it kinda was an obvious topic for my debut to me.
And what do you want people to get out of it?
As I say in the study guide, I really hope that it will truly unravel this beautiful polyfunctional scale and spark the creativity inside the ones who'll study it.
Finally, since we're talking about the most used scale, I hope it will plant the idea that there is no "box" in anything if you truly give your attention to it and look a little deeper, so that they can apply this idea to anything creatively.
Any plans for future releases?
Yes! I'm absolutely excited for the next one! I don't want to share anything specific for now. I'll just say it's gonna be a Masterclass about a fundamental building block of music and it's going to be structured in a way that everyone will understand how to study and how to actually use it in any musical environment.
Finally, if you could only listen to one artist/band etc for the rest of your life, who's it going to be?
This is an easy one! Myself!
That way I could still play my favourite songs of my favourite artists AND still be able to write new music!
Watch George in action as he delivers a solo from the Masterclass
5 Pillars of Better Backings
Monday 20th September 2021 Recording
Use code PILLAR for 20% off all Damir's content.
Ends Oct 1st
JTC Guitar as it is today is built on a foundation of super strong, highly jammable backings. So when someone reaches out to us with backings that fit the bill, we're always happy.
Damir Puh is one of those people, and a killer player too! He's brought modern, in your face, riff heavy backings to our catalogue, and a flawless air of professionalism that we really value.
So it only seems right for him to share a bit about his approach to all these banging backings.
A Clear Objective
Let's start with the most abstract, but probably the most important point. A good backing track needs to solve a particular problem. All decisions regarding track creation depend on whether the track focuses on a specific genre or a specific tonality/chord progression.
Many players use different backings for different purposes, so tracks created with a particular profile of player and a particular problem in mind are more likely to offer the right musical solution.
Having a clear objective right from the start makes the process of creating the backing more streamlined, which results in a better track that many players would find useful.
Balanced Track Structure
Structure is crucial in any piece of music and with backing tracks, there's always the balancing act of musicality vs the utilitarian function of the track in play.
Naturally, backing tracks tend to have extended sections and less variation compared to "normal" songs, but the parts themselves still need to develop and change as they progress. Providing the player a solid musical foundation, while still making things interesting is key, and a balanced track structure, regarding both the macro and micro levels, is the foundation of that concept.
Backings focusing on a particular scale, chord progression or rhythm can allow having long and open sections for the player to practice over. While tracks tackling the "real-band-jam" scenario means more movement and variation from part to part.
Detailed Arrangement and Sound Design
Choosing the right sounds and arranging the ideas into a cohesive piece of music go hand in hand with track structure and the pre-set objective of the backing track.
Even the most generic riff or chord progression could be transformed into a captivating piece of music with tasty arrangement, sound design, and layering.
Choosing the right sounds and arranging the ideas cleverly, immerses the player into the music and offers musical substance that could be mirrored with the lead part.
Providing hooks and ear candy elements is a nice bonus as well, and a welcome addition if creating a genre-specific track that sounds like a song is the objective.
Tight Performances / Programming
Tight performances and detailed programming are some of the key aspects that separate high-quality backings from the average ones.
For example, tight double-tracked guitars or bass and drums sitting right "in the pocket" not only sound better but also give better support for the player jamming, especially when groove and timing are concerned.
Editing plays an important role as well, and the balance of how much/how little is needed is very dependent on the genre. Letting the tail of palm-muted notes ring out in modern metal is just as inappropriate as chopping everything off and aligning everything to the grid on a funk track. In both cases, a correct judgment of what's needed for the specific track is crucial for it to sound and feel authentic.
On the programming side, there's always the risk of making everything a bit too perfect, thus turning out sterile and unnatural in the end. Variation in velocity and timing, especially when drums are concerned, is one of those fine details that help avoid that "jamming to a 90s drum machine" feel.
A Great Mix
In today's day and age, there's no excuse for poor-sounding mixes. Most VST's sound pretty good straight out of the box. there are plenty of really good options for DI guitar tones, and plugins and affordable studio monitors/headphones are getting better and better.
Great mixes and masters immerse the listener in the music and that's always inspiring for someone to jam over. Just like jamming with a band, great-sounding backings make the soloist sound even better, and if the power, punch, and clarity are there, it's easier to feed off the track and spend hours with it.
A great sounding track also forces the player to pay more attention to his own sound, which is one of the main things novice players neglect.
Managing the low end, taking care of the hi-mid build-up inherent with guitar-driven music, and letting space in the midrange for the lead instrument are some of the main things that make the difference.
Check out a backing from Damir's latest release.
Micky Crystal's Rock Fusion Influences
Tuesday 7th September 2021 Blogroll
Micky Crystal's InFusioned Rock Soloing was a chance for him to spread his wings and dig into a genre he loves.
Influences come in all shapes and sizes, and for every guitarist they're different. So to discover the players who helped shape Micky, we spoke to Micky.
So in no particular order...
When did you first discover them and how?
I first heard Robben through buying the "Tiger Walk" album on a total whim. I must have been about 17 or 18 and from there I sought out more of his albums and became a huge fan of the "Talk To Your Daughter" album in particular.
Why have you picked them?
Robben was really the gateway for me to get into fusion. I was hearing chords that I'd not heard in the blues prior to hearing him and was amazed how he would throw jazz lines into blues progressions. It set me on the path to working on how to use the altered scale, diminished etc and how to incorporate them into my blues and rock playing.
What's their best track?
Anything from "Talk To Your Daughter" but if I had to pick one track "Ain't Got Nothin" But The Blues" is a jazz blues masterclass.
I first heard Frank on the Chick Corea live at Montreux 2004 DVD.
Studying Frank's playing has had a huge impact on me, not only his economy picking but his note choice and his phrasing. I've learnt so much from listening to him.
I've always liked the "Passages" album in particular. "6.8 Shaker" really shows off Frank's blues rock side. The trade off with the keys in the outro solo section is stunning, insane chops paired up with super cool bluesy phrasing.
Scott Henderson
I think it was probably a YouTube search that sent me down the rabbit hole looking for more and more of Scott's playing. Vital Tech Tones, the first few Tribal Tech albums and the HBC album were on heavy rotation.
Scott is such a unique player in his melodic and rhythmic approach. His note choice and how he can take a simple idea, develop it and continue running with it had a big impact on me. The way he can incorporate outside playing and resolve on a blues lick was so impressive to me as I'd come from a blues background but had not heard anyone incorporate outside ideas like this before.
I'm a big fan of the first few Tribal Tech albums so it's tough to pick one but let's go for "The Necessary Blonde" from Tribal Tech's self titled album. Super melodic with stunning changes.
I think I was 16 or 17 when I first heard Richie through listening to Mr. Big. I started to do some homework on him and his playing and was amazed he could go from playing with bands like Poison and Mr. Big through to Stanley Clarke with Vertu. Not only is he an incredible player but what an amazing voice too.
Once I heard the "Return of the Mother Head's Family Reunion" album I began to really study his playing. I was heavily into country guitar playing around the same time so pairing up hybrid picking with legato seemed like a natural progression. The way he would approach arpeggios and tapping along with how he would use pentatonics have had a big impact on me as a player.
It has to be "Fooled Again." The outro solo is incredible and still amazes me every time I hear it.
My Dad has a bunch of vinyl records of various guitar players from Hendrix through to Al Di Meola that he'd show me when I first took an interest in the guitar. There were some Larry Carlton and Steely Dan records in there too.
His melodic and rhythmic sensibility and he has this ability to play the simplest lick or idea that makes you go "why didn't I think of that? That's so cool."
Anything from the "Last Nite" album and of course "Room 335."
Find out more about Micky's release here.
Marco Sfogli's Melodic Guitar Idols
Thursday 24th June 2021 Blogroll
Marco Sfogli knows a thing or two about melody. His first ever Masterclass proves that in spades!
But even the greats have heroes, and we wanted to see who made Marco the melodic monster he is today.
Kee Marcello
Around 1988 when Europe's Out of This Worldcame out, it was one of those records on heavy rotation on my cassette walkman!
Love his melodic approach, his rhythmic sensibility and everything in between. He's really one of those few players that can turn a solo into a song within a song. I picked up so much by just listening to him on records.
Anything from Out of This World, if I had to pick one it would be the solo from "More Than Meets The Eye". Brilliant choice of notes!
I actually discovered Toto quite late. A friend of mine lent me a cassette, it was their Greatest Hits record. I instantly became a fan, then I got my head around pretty much all the work Steve has done as a session player and the quantity and quality of stuff is just unreachable for anyone.
It's one of those bands that you gotta love. Dedication, musicianship, great arrangements, great guitar solos. Plus they probably are found on most records as session players than anyone else on the earth.
My favourite record is "Kingdom of Desire", the last one with the great Jeff Porcaro on drums. I just happen to love the vibe of this one, there are solid rock songs as well as great instrumental sections and beautiful ballads. And Steve is a hell of a singer too!
I got into Van Halen when Michael Jackson's "Beat It" came out on the radio. But it was 5150, the record, that turned me on how great this band was. Eddie could make sounds out of his guitars like aliens screaming, plus they had great mellow moments. You can't be a modern player if you didn't like Van Halen!
Because Eddie was the man back then, he was the pioneer, the ultimate axeman, the guy with a smile on his face. He could make everything he played look effortless and sound super smooth. Definitely the best rock guy of our era!
Personally, "5150" the track is one of my favourites. It's probably the very first riff I ever learned on a guitar so there's a bit of nostalgia involved here
Dream Theater was the turning point band for me (and I'm sure for a lot of players of my age). The shred era was going downhill and all of a sudden you hear this band doing impossible things, playing long odd rhythm sections and flashy and tasty solos. It was during the grunge explosion so it was as weird as highly welcomed.
It was the band and specifically the player that shaped who I am today, playing wise and tone wise, no questions. They just happen to have all the ingredients I was looking for in a band. I'm glad they existed because I probably won't be playing guitar today if it wasn't for them.
"Learning to Live" is one of my favourite ever. Quite a long track, over 11 minutes, it has a lot of different moments. Definitely the pinnacle of their production and has one of the most lyrical solos ever.
Andy Timmons
I actually discovered Andy by accident. A friend of mine lent me a cassette of his band Danger Danger and I got into this beautiful playing, and later on got his first Ear X-Tacy CD and became a huge fan. What's fun is that back then nobody knew him in my area, so it was my personal hidden nugget!
Andy is so different from the rest, he had something going that was just unique. A rock player with a jazz attitude, his note choice and use of outside playing on simple rock tunes was what impressed me by the first spin. On a personal level he's also a super cool guy, love him to death!
One of my favourites ever is a track called "Happening '68" from his The Spoken and the Unspoken record. It just puts me in the right mood, it shows his huge Beatles influence and has an outro solo that just puts me on the floor every time.
Find out more about Marco's first ever Masterclass here!
Behind the Pack: Beloved Child
Monday 7th June 2021 News
The best ballads have a big hook, tell a story and in JTC terms at least, allow a guitarist to show off a bit. .
Enter Aryz Bulo. The Indonesian guitarists's 5/4 ballad epic really does tick the ballad boxes and then some. .
So we caught up with him to find out more about "Beloved Child", his latest Learn to Play release..
What was the main inspiration for this track?
This song is inspired by my son, his name is Gabrielle, this song tells about the birth of a child and describes the feelings of a father who really loves his child and struggles through all the difficulties and challenges his parents face before the child's birth and the feelings when the child is born.
The bulk of this track is in 5/4. How did that happen?
At first I was just chilling while making the guitar riff for the intro of the song. I didn't think to set the time signature first but after I'd written the intro riff, I realised it was in 5/4. It was a sweet accident!
So after that, I tried to make a melody theme with slide and legato playing on 5/4 and changed it again with chord modulation from E (root, start from A) to G.
But the chorus and interlude is in 6/4. I wanted to keep the 5/4 feel but make it catchier and easier for the listener to follow along.
What is your tip for playing in other time signatures than 4/4?
I think this is just a matter of habit! At first it might be quite difficult to get used to time signatures other than 4/4. I really understand the difficulty because when we play guitar, we have to think about phrases, scales, grooves, techniques together in a time signature that we are not used to playing.
Of course I have some tips for us to make this easier…
Learn and understand the count of each time signature, how many beats in a measure, where the accent is located.
Simplify a time signature for example 7/8 you can change it to a count of 1/4 so you don't have to count as many as 7 beats in one measure.
Get used to listening to songs with time signatures other than 4/4 as we know, such as the Guthrie songs "Fives", "Sevens", and prog bands like Rush, Dream Theater, Animal as Leaders etc. We listen to all of these to add to our sensitivity to all time signatures.
Are there any licks in the track that you had to work on to get right?
Yes... throughout the track, I had to convey emotive playing and techniques, especially in the chorus section. In the interlude, I tried to include more outside sounding licks that are less familiar to the ears, creating a darker vibe. There's a complete breakdown about that section in the full pack!
For someone who is learning this track, what is the biggest lesson?
The biggest lesson from this song is how you can express your emotions and your feelings in a melody, how to apply techniques such as bending, vibrato, tapping, legato, hybrid picking, alternate picking, etc. To create a harmony that describes the atmosphere and feelings. Besides that, the release will also provide an overview and additional references for you in making your original composition, and also you can learn the application of scales such as lydian, melodic minor modes in chord progressions.
What is the current scene like for guitarists in Indonesia?
Indonesia is a very large country and consists of more than 13 thousand islands and a very large population, so of course there are many talented guitarists who are also extraordinary.
JTC has very many fans in Indonesia. Being the only Indonesian in the JTC roster gives me pride and I hope to be an inspiration to thousands of guitarists in Indonesia.
JTC has become a benchmark and standard for national and even international recognition among guitarists and musicians.
Are there any plans for more tracks like this in the future?
Of course! I plan to publish more varied and fresh songs as well as my album and lesson packages at JTC. This year there will be many releases which I will discuss with the JTC team.
Check out Aryz's intense and uplifting ballad below!
Johnny Hiland Joins JTC!
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text:
Car NewsInfiniti
2014 Infiniti Q50 – Sedan With Ultra Safety Features For Max Protection
Posted by By Wilson Smith 3 Min Read
2014 Infiniti Q50 has been designed with ultra advanced safety features that have enabled it to get the highest safety rating as per the New Car Assessment Program (NCAP) of the National Highway Traffic Safety Administration (NHTSA).
The stunningly gorgeous model of Infiniti Q50 has been equipped with the latest technology to provide the advanced collision detection system with 5 zone collision detection algorithm. The system has integrated processor to take predefined decisions for protection. The straight view technology with global network access is highly wonderful aid to the safety features. In addition, the Smartphone app for the regulation of the car's features has given the touch of the next generation. Owners gets freedom to track the route, anti-theft, locking doors and much more for enhanced security.
The safety features of 2014 Infiniti Q50 are not limited to its radar sensors. But it goes further to include the advanced disc brakes that are connected to the sensor system to prevent any collision. The whole system covers the car, protecting it from the invisible rear end as well, thus, making it perfect moving safety armor for people inside it. The advanced algorithm of its collision detection system predicts the collision possibilities in future by analyzing the positions of vehicles that are not within the field of vision of people inside it.
The cozy comfort in its appealing interiors can be well enjoyed with favorite music with highly optimized speaker distribution for efficient sound distribution without the worry about any collision. The ultra fast air bags inside its body are active all the time to protect passengers in case collision occurs. The side safety of seat belt seems formal when speed of car is auto adjusted by radar sensors to prevent any collision.
The safety and security issues has been well taken care by the modern technology installed in the 2014 Infiniti Q50 model. The model starts at $37,050 USD and varies as the features are customized, going up to $43,550 USD.
Wilson Smith
Wilson Smith is a professional content writer and SEO executive.
Audi AG Is Ready To Test Ultra Advanced LMP1
What Made 2014 Buick Lacrosse Get The Highest Safety Rating From NHTSA


text:
using namespace std;
using namespace ml;

Perceptron::Perceptron(int num_inputs, Rand * r, double LearningRate,
                       double MomentumTerm, ml::Fire * f) :
    rand(r), learning_rate(LearningRate), momentum_term(MomentumTerm),
    momentum(num_inputs,0.0), bias_momentum(0.0), weights(num_inputs,1.0),
    bias(0.0), fire(f)
{
    for (int i = 0; i < weights.size(); i++)
    {
        weights[i] = rand->normal() * LearningRate;
    }
}

Perceptron::~Perceptron()
{
    free();
}

void Perceptron::free()
{
}

void Perceptron::Update(const std::vector<double> & inputs, double offset)
{
    if (inputs.size() != weights.size())
    {
        assert(0);
        stringstream ss;
        ss << "Update: Inputs must be equinumerous with weights." << " at "
           << __LINE__ << " in " << __FILE__;
        throw runtime_error(ss.str());
    }
    double momentum_term = .9;
    double delta = learning_rate * offset;
    double update;
    for (int i = 0; i < weights.size(); i++)
    {
        update = delta * inputs[i] + momentum_term*momentum[i];
        weights[i] += update;
        momentum[i] = update;
    }
    update = delta + momentum_term * bias_momentum;
    bias += update;
    bias_momentum = update;
}

double Perceptron::Fire(const std::vector<double> & inputs) const
{
    return (*fire)(Vote(inputs));
}

double Perceptron::Vote(const std::vector<double> & inputs) const
{
    if (inputs.size() != weights.size())
    {
        assert(0);
        stringstream ss;
        ss << "inputs not the same size as weights!" << " at "
           << __LINE__ << " in " << __FILE__;
        throw ArgumentException(ss.str());
    }

    double result = 0.0;
    for (int i = 0; i < weights.size(); i++)
    {
        result += weights[i]*inputs[i];
    }
    result += bias;
    return result;
}

double Perceptron::Weight(size_t index) const
{
    if (index < 0 ||
            index >= weights.size())
    {
        stringstream ss;
        ss << "index out of bounds" << " at "
           << __LINE__ << " in " << __FILE__;
        throw ArgumentException(ss.str());
    }
    return weights[index];
}

int Perceptron::InputSize() const
{
    return weights.size();
}

double Perceptron::LearningRate() const
{
    return learning_rate;
}

redpajama_set_name: RedPajamaGithub


I would first like to thank everyone who has been a part of "The Veterans Project." The elite class of warriors you see in my photos are the defenders of our freedom, and they deserve a place in the history books. It is my hope that through the project, you can see my passion for these war-fighters. There is no love quite as deep as a man's love for his brother in combat.
My quest is to show civilians what it's like to reintegrate into society for our veterans. The focus of the project is to not only capture the legacies of veterans of the American military, but to capture the stories of all Allied countries and their warrior classes as well. All of these men and women joined for a reason and some of these motives are very different. However, every man fights for the same inherent reason; the fraternal bond. Whether or not you agree or disagree with our wars in Iraq and Afghanistan, our blood has been shed to the tune of over 6,000 lives. This number matters greatly to me, because it represents the ultimate sacrifice. I am biased of course, and unashamed of this bias. I served as well.
This project serves as an educational tool for all those who want it. It is a visual essay of the war-fighter at his/her most vulnerable point. I can't describe how much it means when my brothers-in-arms let down their walls, and tell me their stories. The project serves as a platform for each war-fighter to express their own singular perspective. At the very least, I hope you gain a new understanding of what it means to fight and come back to a society that doesn't always seem so accepting. At the very most, I hope you gain a new appreciation for the men and women who put their lives on the line. Maybe now, when you see that soldier in the airport sitting by himself on his way on his way to a land 5,000 miles away, you'll think of your son, brother, daughter, or sister. Maybe it will stir some compassion within. I hope this project can narrow the disconnect between our fighting force and the civilians they protect. I hope you enjoy The Veterans Project.
The Veterans Project is a comprehensive photographic essay detailing the lives of WW2, Korean War, Vietnam War, Desert Storm, OIF, OEF combat veterans and their return to civilian life. The project focuses on the many challenges surrounding their reentry into "polite society" and realistically depicts their lives profiled in both photographic and interview formats. The goal of The Veterans Project is to show each participating veteran as they truly are, as a unique person whose decision to serve places them in a special category of American volunteers. Although all wear the same uniform and to some extent share a common bond as "brothers in arms, " these warriors see life and war through their own personal lenses which is what makes their stories and their struggles uniquely personal and diverse. To see their stories, click the blog link below.


USAFA, Colo. – Cal Poly women's divers competed in the 3 meter championships at the United States Air Force Academy on Thursday with two divers advancing to the finals.
Sophomore Sami McIntyre (pictured at right) scored 268.00 in the finals of the 3 meter dive, putting her in fourth place in the event. Also in the top ten, sophomore Meaghan O'Meara scored a total of 226.20 points with her dives, she finished in seventh place.
In the consolation round, senior Molly McElrath finished in second place with 222.45 points.
The championships continue through the 18th.


I have been working on my Asian Lettuce Wraps over the years, trying to get close to PF Chang's, which are so very good. After trying a bunch of different methods, it seems I've struck gold with tonight's version. I decided to throw a bit of peanut butter in this time and throw the carrots starting a bit earlier in the cooking process and wow did that ever make a difference! Honestly, it's been quite some time since I've had PF Chang's so I'm not really sure how these compare, all I know is they are absolutely delightful. The water chestnuts and the fried rice sticks give a nice texture, and the peanut/hoisin sauce combination is to die for. It's sweet while a bit salty and peanutty. My tum approves wholeheartedly.
I don't know if these are the same as PF Chang's but they sure are mouth-wateringly delightful. The water chestnuts and the fried rice sticks give a nice texture, and the peanut/hoisin sauce combination is to die for. It's sweet while a bit salty and peanutty. My tum approves wholeheartedly.
Once put in the oil, these take 10 seconds tops to cook. I'm not exaggerating… so you want to have everything prepared before you put them in the oil. You need to have a baking sheet or large plate lined with paper towels ready and you will want the utensil you will be using to pull out the noodles ready to go (use a large metal spatula or some other large, flat heat-resistant utensil with holes).
Remove the amount of rice stick noodles you will be using from the package and break up into smaller pieces, separating them as much as possible from each other for more even cooking.
When the oil is hot enough, drop small sections of the noodles into the oil (you really don't want to throw too many in at once because they puff up a LOT). Allow to puff for a few seconds, then remove the noodles promptly (you don't want them to brown, you just want them to have puffed up and they should still be white) and place on the paper-towel-lined baking sheet or plate to drain off the excess oil. Be careful when removing them from the oil as it is very hot and likes to splatter a little.
Next, you will want to prepare your lettuce (see next set of directions).
Wash and dry off large leaves of the lettuce (gently so you don't tear them) and set aside.
In a large skillet over medium-high heat, heat the sesame oil, then add the ground meat, onions, carrots and garlic and cook stirring frequently, until the meat is fully cooked and browned and crumbled (about 5-6 minutes).
Add in the ginger and continue cooking for about another minute, then mix in the water chestnuts, scallions, hoisin sauce, peanut butter, vinegar and soy sauce, mixing until thoroughly combined and cooking another few minutes to allow the flavors to blend together.
Spoon a couple heaping tablespoons of the meat filling into a lettuce leaf and top with some of the fried crispy rice noodles. If you're serving this to a group, you can do it like in the photo above, with the lettuce leaves around the outer edge of a large oval platter and some meat filling and fried crispy rice noodles on the platter in front of them.