He's made over 2,000 arrests and has earned hundreds of commendations including the Combat Cross.
NEW YORK—When you walk into Bleecker Street Pizza, you expect one of the best slices in New York. What you don't expect is the man behind the register, and the legend behind that man.
Ralph Friedman is average height, bald, muscular, and covered in tattoos. Frankly, he doesn't really stick out in the West Village. However, once you start talking to him you realize that he isn't your average New Yorker.
Friedman, 70, is the most decorated officer in NYPD history. He's made over 2,000 arrests and has earned hundreds of commendations including the Combat Cross.
Before his career in the police department, he was moving furniture and making good money. However, he didn't see any room for career advancement. The police department seemed like a good move.
In 1970, after graduating from police training, Friedman was assigned to the 41st precinct in the South Bronx, affectionately referred to as Fort Apache.
"It was a very rough area. It was the toughest area in the city, probably the country, and it was a Wild West show down there. A lot of shootings, robberies, rapes … it was like the most active and dangerous place in America," Friedman told The Epoch Times.
Some of Friedman's greatest memories include being promoted to detective and receiving the Police Combat Cross medal—the NYPD's second-highest honor. However, Friedman had to earn these accolades and risked his life daily to do so.
He became a police officer in what was arguably the most dangerous time period in New York City, especially in the South Bronx. He has countless memories from his time on the job, but there is one in particular that has stuck with him.
Not unusual during this era, Friedman and his partner were in a shootout with a suspect. His partner was shot seven times, and Friedman shot and killed the gunman, saving his partner's life.
Today, it's just another story in Friedman's collection after being involved in 15 separate shooting incidents in which he shot eight men, killing four. Despite the danger, he looks back on his time in the police department fondly.
"I'm very proud of my career, and I'm very proud of the New York City Police Department, and being part of it is a great feeling," Friedman said.
Unfortunately, Friedman's illustrious career would be cut short. On August 1, 1983, he and his partner were responding to a 10–13, a code meaning an officer needed assistance. The officer was putting out the call himself, meaning he was in serious trouble.
Friedman and his partner were responding to the call in an unmarked car when a police car, responding to the same call, T-boned them at an intersection. Friedman was sitting in the passenger seat, and took the brunt of the hit. He broke 23 bones, shattered his hip into a hundred pieces, and broke his pelvis.
Friedman wouldn't be able to continue his work as a result of his injuries. He had to retire from the force in January 1984.
"Even to this day, I still miss the police department, but I realized at that time that I was hurt in such a way that I wouldn't be able to function, and I realized I'm getting a little older and criminals are getting a little younger," Friedman said.
He's since written a book about his days in the police force, called "Street Warrior," and starred in the Discovery Channel show "Street Justice: The Bronx," which aired last year.
It was retired fellow officer and close friend Doug Greenwood that brought Friedman to Bleecker Street Pizza. The police captain, who owned Bleecker Street Pizza, became ill from 9/11 related illness after working at Ground Zero for 40 straight days. Around two years ago, Friedman started traveling in from Connecticut on the weekends to help out however he could.
Tragically, Greenwood recently passed away. Friedman has stuck around, helping out the late officer's brother Greg and co-owner Tony Salihaj who now own Bleecker Street Pizza. He comes in on Friday and Saturday evenings, and often works the register.
Friedman's experience as a police officer has come in handy sometimes, particularly when it comes to inebriated customers late at night.
But Bleecker Street Pizza is a far cry from his old beat in 1970s South Bronx.


text:
Исполнитель: Raghav
So Muchfeat. Kardinal Offishall
— Raghav, Kardinal Offishall
You Should Be the One
Need Someone
Kya Se Kya Ho Gaya
ЛейблMATHURMATICS
So Much feat. Kardinal Offishall
Исполнители: Raghav, Kardinal Offishall
She's like them Reese's Peanut Butter cups, mnm that I love so much I just can't get enough, my baby, ah-ah-ah-ah-ah Mmm and she's soft to touch but sometimes she costs too much But then she burn it up and I be like mmm-mmm-mm-, ah-ah
She's like them Reese's Peanut Butter cups, mnm that I love so much I just can't get enough, my baby, ah-ah-ah-ah-ah Mmm and she's soft to touch but sometimes she costs too much But then she burn it up and I be like mmm-mmm-mm-, ah-ah I remember everybody said it, it's the love bug you're gettin But I just said forget it, nanananana But ever since she put it on me, oohooh I think she's got me Cause now I'm feeling oh so lalalalala I never knew that I could feel it so much, much But now I know because I feel it so much, much Even if I tried, couldn't think of no one Who does it quite like you do It's so much, much, much Yeah girl you fill me up, with flavour in every cup Chocolate, strawberry, vanilla, I clean it up, mmm ahh I just see something new within your every move That's why I look at you, more then mooore I remember everybody said it, it's the love bug you're gettin But I just said forget it, nanananana But ever since she put it on me, oohooh I think she's got me Cause now I'm feeling oh so lalalalala I never knew that I could feel it so much, much But now I know because I feel it so much, much Even if I tried, couldn't think of no one Who does it quite like you do It's so much, much, much I never knew that I could feel it so much, much But now I know because I feel it so much, much Even if I tried, couldn't think of no one Who does it quite like you do It's so much, much, much Day after day time after time, you keep finding brand new ways to shine Never been more then I desire, you keep me satisfied So don't stop now girl just keep it going Buff Body's like umfphh French manicure, pedicure's in her foot When she strolls by, everybody looks But nobody says a word, everybody's schwup She don't deal with your car She dont' know who you are Round here it's music and movie stars Straight from the bottle, who uses cups? (Not me) Her swagger's mad crazy Forget about the tears on Page 3 She's tasty and open ears But when her smile appears, it's 1080 HD Holla at me baby I'm a bachelor BBM, no girl it's not that IPhone 4, wassap? I never knew that I could feel it so much, much But now I know because I feel it so much, much Even if I tried, couldn't think of no one Who does it quite like you do It's so much, much, much
Kardinal Offishall, Raghav
2010 сингл feat. Kardinal Offishall
Always Love You
Sexy Den A Mutha
TroublemakerOriginal Mix
Thai Luz
LoudNClear (TruDog 10)
Lo TienesOriginal Mix
Surrender DJ's, Black Pata
Girl Like You
Collin Brooks
Olduralım mı
Vivo in vacanzaOriginal Mix
Sopreman, MasterMaind
Schools outfeat. TeRex
Furillo

redpajama_set_name: RedPajamaCommonCrawl


Samsung's Food ShowCase Refrigerator is for those struggling to balance having lots of food and groceries at once, while still maintaining an organized and orderly-looking fridge. It features an innovative design unlike typical, space-wasting refrigerators that make it easier to have a lot of things at the same time and still having every produce within reach.
Rolando and Jackie Laucido, well-known chef couple and Samsung Digital Appliances ambassadors, testified as to how a tidy fridge can make food preparation quicker both at home and at professional restaurants.
For easy access, the Food ShowCase has two space-saving layers with areas meant for storing specific items, namely: the Cooking Zone for frequently used products such as eggs, sauce bottles, and cheese; the Family Zone, used for food meant for the whole family's consumption like drinks and fruits; and the Kids Zone, positioned low inside the Showcase for children's snacks and beverages. Located deeper in the fridge is its InnerCase which is meant for perishable produce such as some fruits, vegetables, and meats.
The door also houses an Ice Master to free up space in the freezer; an Ice and Water Dispenser for filtered and chilled drinking water; and various Slide and Fold shelves for flexible accommodation of tall and bulky containers.
The Food ShowCase's design team studied and took into consideration the dimensions of everyday items you'll find in a fridge. The result is an efficient design that maximizes every inch of available space, with all the features above fitting snuggly inside the fridge.
It's also no slouch in terms of keeping food fresh. It's able to retain its cold air even when its doors are open, ensuring constant temperatures throughout for preserving your food's quality. Finally, the Food ShowCase sports Digital Inverter Technology to save on electricity, with compressor durability guaranteed by a 10-year warranty.
The Samsung Food ShowCase Refrigerator with Ice and Water Dispenser is tagged at PHP 139,900, while the basic model carries a price of PHP 129,900. If that wasn't good enough, Samsung's throwing in their Smart Oven – their improvement upon the regular, "dumb" ovens.
It comes with numerous settings for virtually any cooking style. You want to create bread? It can do that. Want to heat up a pizza? It can do that. Want healthy food? It's Slimfy option ensures flavorful outputs without the guilt. Heck, it can even make yogurt!
Its "Smart" monicker doen't mean that it has access to the internet like a mobile phone. Rather, it means that this oven can intelligently detect your food's surface temperature, adjusting itself appropriately so you will never have dry, overcooked, and undercooked meals.
The Smart Oven retails for PHP 13,998, but you will get it for free by purchasing a Food ShowCase Refrigerator. This promo runs until after Christmas and is available at all authorized Samsung dealers nationwide.


There are some professions in which, no matter how you slice it, your work is ultimately not in the public interest. Burglary is one such profession. Another is where you own a towing company and hire people to spot cars that are illegally parked (even very temporarily and inadvertently), and then zoom out and tow the car before the owner gets back. Selling firearms to crazy people is another one. So is being a tax lawyer.
Ok, there are a lot of perfectly respectable people who are tax lawyers. I believe the husband of Supreme Court Justice Ginsburg was one (also a tax professor, helping churn out more tax lawyers). There's certainly nothing illegal about what they do -- they are simply zealously representing their clients and helping them to navigate an extremely complex tax system so as to ensure that the clients "don't pay a penny more" in taxes than they owe. You can even argue that this is in the public interest, because it's all consistent with laws passed by Congress, and in some cases it might help expose loopholes that need to be closed. And of course, if one tax lawyer doesn't do it, another will.
But in the short run, it's not in the public interest to create schemes that help extremely rich people (or corporations) save taxes. And given our history, I can't see any long-run benefit either -- tax lawyers have been saving billions of dollars for their clients for many years, and I honestly can't see how society has benefited from that in any way. If there were no tax lawyers (or accountants doing the same thing), rich people (and corporations) would pay more taxes, and the government would have more revenue.
Yet if I were rich, and my goal were to not to "pay a penny more in taxes than I owed," I probably would find a tax lawyer or an accountant who would help me do just that, as long as it was legal. And then perhaps some day I would run for President on the platform that we need to stop funding programs like Medicaid (i.e. medical care for poor children) since the government doesn't have enough money to pay for those programs. But why doesn't government have the money? See above -- a lot of rich people (and corporations) like me, complying with the letter, but not the spirit, of the tax laws.
-- In 2006, Bain and the Blackstone Group joined forces to buy Michael's -- the arts and crafts stores -- for $6 billion in mostly-borrowed money.
-- Michael's started having problems, and it became possible in early 2009 to buy Michael's debt for pennies on the dollar (I guess the assumption was that Michael's was going to go down). Bain and Blackstone (the owners of Michael's) went ahead and bought Michael's debt for exactly that -- pennies on the dollar.
-- Specifically, they paid $28.6 million for about $193.6 million in Michael's debt.
-- That's something every American consumer would love to be able to do. Say I have $100K in credit card debt. It looks like I'm going down. Wouldn't it be nice if I could simply "buy" that debt myself for $20K? Not something I get to do, but apparently the big boys get to do it routinely.
-- If they had simply bought it themselves, in the U.S., that would have been one thing -- the U.S. tax code is smart enough to say they would at least have to pay income tax on the money they make on a deal like that (buying their own debt). It would count as "cancellation of debt" income. But they aren't stupid, and they have good tax lawyers, so they created a shell company in Luxembourg -- Ursa -- to do the actual buying.
-- Although Bain (and Blackstone) owned Ursa, and Bain (and Blackstone) owned Michael's, that doesn't necessarily mean that Michael's and Ursa are "related" for purposes of the tax laws. Thus, since the money Ursa made by buying Michael's debt wasn't attributable to Michael's, Michael's didn't have to pay the "cancellation of debt" income it would otherwise have had to pay (had it bought and sold its own debt).
-- Not stated in the NYT article is the apparent fact that Michael's must have made an amazing recovery in 2009. In other words, from reading the article, we can infer that Michael's was in such deep trouble in early 2009 that one could buy so much of its debt for less than 15 cents on the dollar, but by the end of 2009, its debt was back to being worth its full value (since Ursa was apparently able to sell the debt for $200M).
-- Implicit in the article is also the fact that this "investment" opportunity was available to anyone, or at least anyone with $28.6 million on hand. Apparently Michael's creditors were willing to sell the debt at that discount, so another truly unrelated company could have made the same killing that Ursa made. The NYT isn't exactly begrudging Ursa its profits (at least not in the full amount); instead, it's trying to show how the transaction ultimately saved Michael's (and thus Bain, and thus Romney) money..
-- It's hard to say exactly how much money Michael's saved. But it's certainly clear that if Michael's had bought its own debt, it would have had to pay "cancellation of debt" income on its "profits" (at least according to NYT). I guess that tax would arise on the day it bought the debt for the $28.6 million, since at that point, about $160 million in debt would have disappeared.
-- The NYT article also says that "Federal withholding on interest payments by Michael's was another potential issue," although the article doesn't give me enough information to figure out just what this means. It tends to suggest that if Michael's debts were originally held by U.S. entities, the IRS would get some tax on the interest income of those entities. Obviously, a foreign entity wouldn't have that problem, so that's less tax to the U.S. tax system.
-- The NYT concludes that "[t]he exact amount saved through the Ursa maneuver is difficult to calculate," but ultimately suggests that it might have been worth more than "$50 million to Michael's bottom line."
"Two Bain funds, in one of which Mrs. Romney's trust held up to a $1 million dollar stake, invested about $13.5 million into Ursa, through a Caymans entity."
So without knowing the total size of the Bain fund that Mrs. Romney invested in, it's impossible to tell how much of "her" money actually could be allocated to the Ursa transaction. If we assume that the Bain company was set up specifically for this purpose -- i.e.that the full $13.5 million was all that it had -- then we could say that the Romneys had got 7.4% of Bain's profits on the transaction. If the Bain fund was bigger than just this one transaction, then the Romneys got less . . . .
UPDATE Nov. 3, 2012 -- PriceFixer's closing argument on the election is here.
Nice post; thanks for explaining that. When you're at a place like Bain, making money just becomes a great big game -- it's not about producing a product or creating jobs; it's about using inside information, seizing opportunities not available to others, cashing out when the time is right, and avoiding taxes.
We'd see a lot more of this kind of thing if we could see Romney's tax returns. But right now, it's beginning to look like he might win the election without even showing them to us!
Jobless but good-looking? Become a Pharma Rep!


text:
Moving Blockchain Forward: Orchid Joins Chamber of Digital Commerce
Beyond making the internet open and accessible to everyone, at Orchid we've always promoted the adoption of blockchain tech for innovation and social good — that's why all of our technology is open source. Today, we're proud to announce that we've joined the Chamber of Digital Commerce, an organization leading the push toward a better public understanding and embrace of blockchain technology.
Orchid co-founder and CEO Dr. Steven Waterhouse (Seven) said: "Restoring the internet to the free and open frontier it once was requires not only advancement in technology, but in policy as well. We're thrilled to work with some of the most forward-thinking minds in tech policy to make the decentralized web a reality."
Perianne Boring, Founder and President of the Chamber of Digital Commerce said: "We established the Chamber of Digital Commerce to advocate for the constructive and inventive use of blockchain and related digital assets. Orchid's innovative technology, extensive partnerships, and commitment to privacy make it a leader in the blockchain world. We're proud to collaborate with them."
As a blockchain-powered platform, Orchid has a responsibility to promote the acceptance, growth, and understanding of distributed ledger technology. After much consideration, our team decided that joining the Chamber of Digital Commerce was one of the best ways to achieve this goal.
The Chamber of Digital Commerce is the largest trade association for blockchain, with over 200 partners and members, including many of the world's largest financial services and blockchain firms. For a full list of the Chamber's membership and to learn more about its mission and projects, please visit digitalchamber.org.
Download the app and join Orchid's privacy network today!
Get Orchid
Orchid answers the community's questions in Binance Español AMA
Starting today, it only costs $1 to get started with Orchid
Follow the White Rabbit is now the Priv8 Podcast
© 2022 Orchid Labs Inc.


A 2019: Season 1: Amateur match scheduled for Friday 9:00pm February 15th 2019 AEDT.
Server (9f2e13fb-a320-490e-be87-89ee2b57ceb8) has been taken offline after being empty for 15 minutes.
VentureOCE has 5/5 in-game players with subscription.
Handicapables has 5/5 in-game players with a subscription.
Match has been created and scheduled for Friday 9:00pm February 15th AEDT.


Newspaper reading has being the vital aspect in our day to day activities since long time period. Newspaper has become a perfect medium of mass communication. Not only information of current affairs but also advertisement of products, government tenders, job requirements and such other news are published in news paper.
With the emergence of internet, newspaper have become digital with many newspaper websites coming up. People who are net savvy surf the net to access the newspaper site to get information.
Developing of newspaper portal is not a cake walk activity. It requires professional skills and state of art technology to architect newspaper portal. 99 It LTD, an ace software company has fruitful experience in this forte. Our proficient personnel develop newspaper site in such a manner that the reader gets real time experience and interest.


Since 1976, SAS has developed analytics software to extract intelligence from spectacularly large datasets.
Much of its dealings occur in financial services, where decisions around fraud, compliance and risk require trillions of computations. But the comparatively recent proliferation of online channels has created a need for rich analytics among marketers. And as the marketing and advertising worlds collide, that need is only growing more acute.
In February 2012, SAS acquired publisher-side ad server aiMatch, which it developed into its SAS Intelligent Advertising product. Wilson Raj, the company's global customer intelligence director, spoke with AdExchanger about the coming conflation of advertising and marketing technologies, the data challenges companies will face bringing these two disciplines together and the future for SAS in advertising tech.
AdExchanger: How do advertisers vs. marketers handle data management?
WILSON RAJ: As it exists, data management is defined differently by these two camps. When you talk about data management from an advertising perspective, it's typically more channel-specific. You have data vendors focusing on the TV audience, like Nielsen or Kantor, or social audience data like Bazaarvoice, or social, credit and financial data that Experian provides. But they're not merged together. So that's the advertising view of the world, from a data perspective currently. Even within that world, there's fragmentation among all those that I mentioned.
We switch over to marketing data management, where the No. 1 source is CRM. This is all the historical data that pertains to sales interactions, venue interactions, Web behaviors.
Then when you merge [marketing and advertising], that's when you have that holistic platform.
What's the central challenge in that merging?
How does a customer go from anonymous to someone who is known? You have cookies and sessions that both advertisers and marketers track. You have data from browsing behavior, level of interaction, level of involvement. You have product recommendations for linking.
You start building this profile and moving forward it's more behavioral. As you move further into the value chain, that's when you get customer value. You get more predictive insight.
When moving from anonymous to a named account, the advertising side has more third-party data, things they've aggregated through credit institutions, specialty data, TV viewership, ratings, etc. What's missing is the first-party data that typically marketers have. That's the ID, especially if it's a current customer. The question is how do you link those two together. One of the most difficult things to do is moving anonymized, aggregated data to more specific, individualized names. To figure out who's interacting with you while they're doing it, and understanding what their preferences are.
How do you link those two together without creeping people out?
We did a survey on that. In terms of privacy, 71% of 1,200 respondents in the US said that's a problem for them, but 61% do want personalized experiences at the same time.
From a SAS perspective, we put protocols and securities in place to figure out how the data is used, in accordance with privacy and preferences of the customer. From an implementation perspective, there has to be an agreement or a process where if you're working with advertisers, you need understanding of how you can extend security and privacy principles that are typically inherent in marketing, and extend that to the advertising side, and vice versa.
If you don't have that overarching view of that entire dataset, then you will run into unwelcome kinds of interactions.
Who is responsible for overseeing this? The advertising agency? The brand marketers?
From what we're observing, all of the vendors and all of the parties involved are coming to some sort of ownership of this. From an advertising perspective, the only way to grow now is to add more customer insight, add more accuracy in terms of attribution and add better measurements of performance. So they have an onus to own some of those processes.
The brand side is looking to additional data sources to enrich their first-party data, so they're moving upstream.
From a vendor perspective, their motivation is to be a value-add, to be a trusted partner to the brand. They don't want to become another specific channel for data that adds only limited value.
But the onus seems to be more on the marketer, on the CMO, representing the marketing organization as the steward for the customer experience. They're more tasked to make these things works, but there's still a shared responsibility with the other folks involved.
There's a desire to move data-management platforms (DMPs), typically an advertising play, into the marketing stack.
That's something that we definitely saw in February 2012 when we first talked to AdExchanger about [the acquisition of] aiMatch, an ad-serving platform that did a lot of things beyond single channel. That's one of those opportunities we saw, not just from a technology perspective to bridge that gap, but we also saw the publishers wanting to add more value to their clients, the marketers.
When you acquired aiMatch, it was a sell-side ad server. Now it's moving to the buy side of the house. Was that always SAS' intention?
That was the intention. We had to start with the sell side because that's what aiMatch was doing initially. The capabilities were directed toward real-time bidding, better leverage of exchanges, better business processes and so on. But we've always had an eye toward enriching those capabilities and connecting them to the customer intelligence solutions we already have. To get further penetration with the publishers you have to show the value.
One of the barriers we had to overcome was we had to help advertisers become more digitally and analytically savvy. On the campaign side, data-driven marketing had been – I won't say operating at a high level – but it wasn't a new concept to those guys.
It's surprising to hear that advertisers aren't as analytically savvy.
Yeah, I know. When you look at the sort of reporting that was done, typically, there's a lot on aggregate information. You have impressions and views and click-throughs. But when it comes to deeper insight, it's more descriptive. You know people saw it, people responded to it, but that's at the aggregate level. When you get into why ads behave the way they do, what they'll be doing in the future, any predictive kinds of things, those capabilities are not prevalent in the advertising side.
We see more of that on the marketing side, where people are getting into recommendation engines and predictive analytics, and there's room to grow for sure. But data-driven marketers are already moving into that realm: next best offer, next best action. Those capabilities are not prevalent on the advertising side.
How many customers do you have using SAS Intelligent Advertising? How many are still in beta?
Are most of your current Intelligent Advertising customers new or were they inherited from the acquisition?
We've had quite a number of customers that we've acquired after the acquisition. Some of them are carrying on existing aiMatch customers, but we've added on a bunch of new companies, telco companies in Europe.
Do these companies use Intelligent Advertising as a standalone or have they integrated it with marketing tech?
They're definitely seeing the connections between ad tech and marketing tech. [Some clients] using SAS for campaign management and marketing technologies are now tapping into components of AI to further enhance that personalization and relevance into digital channels.
Likewise, we had a customer in Europe where they're using Intelligent Advertising components to do very innovative mobile marketing with some dual location capabilities and combining that with their existing campaign management solutions from SAS.
I can't name the account yet. It's still a proof of concept we just completed recently and now the idea is to build it out and monetize it.
We had an internal case study in Europe for an online [clothing store] and an advertising agency. Those were the two entities we're talking about here. In this case, they were able to use Intelligent Advertising, particularly the mobile analytics piece. The agency built an online banner ad for mobile devices and we added dual location capabilities and put together a mobile campaign for this online retailer. The customer fed in as much CRM data as they could: customer insight preferences and targets in terms of what inventory they wanted to sell. With that as a premise, an application was built by the advertising agency and they started targeting a few customers.
In real time, the agency was able to get new information in terms of what the audience – in this case it was professional women in a European city – what kinds of boots they were clicking on. From an online retailer perspective, they were working with various POS retailers where they were selling their merchandise through. They got intelligence using geolocation where the prospects were moving. They could have timed offers as when the person was close to one of those stores, where they got an alert and a couple of offers on the phone. Based on click-throughs, the agency adjusted the creative, the offer type and even some terms of the discount, being able to figure out which were the best offers resonating to this particular category of women in the city.
This was sent back to the customer – the marketer in this case – where they were able to review it and adjust the campaign,the product they wanted to feature and the website.
So you've got an advertising campaign that's merging and providing intelligence to the customer campaign and vice versa.
How long did it take to build this out?
This was a customized campaign. It took on both ends with help from SAS about a couple of weeks, almost a month, to get the infrastructure in place. Once we got it up and running, it was about optimizing and improving not just the process but the data capture and the analytics behind it.
Was your deal with the retailer or the advertising agency?
It started with the retail customer, but they had very strong ties with the advertiser so in this case, SAS felt from an ecosystem perspective and from a customer experience perspective, they needed to talk to the advertising agency. With that agreement, the agency saw value and it drove better ad targeting and ad efficiency, and certainly a deeper relationship with their customer the online retailer and vice versa. And the retailer took advantage of the rich third-party data the advertiser had and their know-how on mobile advertising and so on. What moved them together was the analytics and the orchestration process for both sides.
You mentioned this is a proof of concept you're looking to monetize. What are the goals there? Getting customers to make more purchases?
The proof of concept had a sell-through component, but now we need to scale it to more full-production mode and expand it beyond just geolocation. We want to take it to multiple cities and several countries, and take it to other retailers and agencies that might be interested.
When it comes to data, what aren't advertisers thinking about that they should be thinking about?
First, expand their perception of data and go beyond what they're already collecting, to partnering more with their customers – in this case the marketers – to aggregate, match, cleanse, and get to the point where you can have a nice set from anonymous to known customer data.
Second, be more analytically driven. That's something we see in the news quite a bit where the huge mega-agencies and the smaller scrappier ones talk about analytics. But they have to look at it not just from a media optimization perspective but also to use things like predictive analytics and predictive principles to anticipate audience behavior based on past data, present data and to forecast future performance.
Third, embrace technology a little more. Not that they currently aren't, but when you look at these ecosystems, there is no one solution or one vendor that can provide everything. It really needs to be a partnership like that example in Europe, where you have the online dealer meshing with the advertising side, and having a common data platform and a common analytics platform to execute on those things.


Del The Funky Homosapien And Amp Live Drop New Album "Gate 13"
Oakland rapper (and Hieroglyphics member) Del The Funky Homosapien has joined forces with Amp Live (one half of Zion I) to release a new album entitled Gate 13, and fans are nothing short of excited. The album is no secret and comes highly anticipated, as both Del and Live have posted about the upcoming works via social media.
Gate 13 comes locked and loaded with sixteen new tracks and features a number of guest appearances from artists such as Living Legends member MC Eligh, Simi, Goapele, Zyme, Mr. Micro, Adult Karate and James Melo. Even more reason to be excited is the fact the duo just dropped their first inaugural single for the album entitled "Wheel Of Fortune." The track displays versatility from Del and Live, creating a reggae-inspired vibe over Del's trademark voice.
This project is certainly not the first time Del and Live have linked up, working together during Live's Radiohead remix and not to mention the years of friendship. Their chemistry bids to elevate hip-hop through a dimension of nineties inspired lyricism through to a style of new futuristic and old blends on the boards. Gate 13 is set to release worldwide last Friday with "Wheel of Fortune" already being released via YouTube and iTunes.


text:
package ru.inovus.util.fnsi.client.service.api.dto;

import org.hibernate.validator.constraints.NotBlank;

import javax.validation.constraints.Min;
import javax.validation.constraints.Pattern;

/**
 * Класс для хранения настроек
 */
public class SettingDto {

    /**
     * Адрес удалённого сервиса.
     */
    @NotBlank
    @Pattern(regexp = "^(https?):\\/\\/[-a-zA-Z0-9+&@#/%?=~_|!:,.;]*", message = "serviceUrl must be in URI format ")
    private String serviceUrl;

    /**
     * Автопростановка необходимого пути в serviceUrl.
     */
    private Boolean isAutoRestPath;

    /**
     * Максимальное время ожидания установки
     * первоначального соединения с удалённым сервиcом.
     */
    @Min(value = 1L, message = "connectionTimeOut number must be greater than zero")
    private long connectionTimeOut;

    /**
     * Максимальное время ожидания очередного пакета данных
     * из удалённого сервиса после установления первоначального соединения.
     */
    @Min(value = 1L, message = "socketTimeOut number must be greater than zero")
    private long socketTimeOut;

    public String getServiceUrl() {
        return serviceUrl;
    }

    public void setServiceUrl(String serviceUrl) {
        this.serviceUrl = serviceUrl;
    }

    public Boolean getIsAutoRestPath() {
        return isAutoRestPath;
    }

    public void setIsAutoRestPath(Boolean isAutoRestPath) {
        this.isAutoRestPath = isAutoRestPath;
    }

    public long getConnectionTimeOut() {
        return connectionTimeOut;
    }

    public void setConnectionTimeOut(long connectionTimeOut) {
        this.connectionTimeOut = connectionTimeOut;
    }

    public long getSocketTimeOut() {
        return socketTimeOut;
    }

    public void setSocketTimeOut(long socketTimeOut) {
        this.socketTimeOut = socketTimeOut;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Home › About NemaMetrix Inc. › Our Story
The NemaMetrix Story
Dr. Lockery applies microfluidics techniques to study C. elegans
Studying at Harvard University during his sabbatical leave, University of Oregon Professor Shawn Lockery applied microfluidics techniques, which involve precise control and manipulation of constrained fluids to move the worms around in a predictable manner. These techniques would replace the traditional manual method of studying C. elegans with microscopes, tweezers, and thin electrodes. Lockery realized that the new technique could be used as a precise and cost-effective drug screening tool.
Drs. Lockery and Weeks found NemaMetrix LLC to commercialize the technology
Collaborating with fellow University of Oregon Professor Janis Weeks, who had a background in electrophysiology and neural circuits, Shawn was able to turn his microfluidics concept into a functional prototype for use in rapidly screening drug candidates. This work was funded by a two-year NIH grant to the Lockery lab.
Matt Beaudet joins as CEO to accelerate and guide the commercialization effort
Experienced R&D executive Matt Beaudet recognized the potential in the technology. He saw that the work of Professors Lockery and Weeks was the largest advancement in drug discovery in the last 50 years — an advancement that will fundamentally change the way drugs are discovered. Matt and his team started product development to improve the usability of the technology.
NemaMetrix sells the first ScreenChip System
Together the three principals create and execute a plan to take the technology to the next level. They develop a streamlined, easy to use product, the ScreenChip System. Researchers using microscopic worms as test subjects will no longer be burdened with a tangle of wires or weeks of training. They won't require the mind of an electrical engineer — or need an intimate familiarity with C. elegans.
NemaMetrix launches new and improved ScreenChip device and software
Continuing to refine and perfect the product, the NemaMetrix team releases the next generation of the ScreenChip System, which includes easy-to-use data acquisition and analysis software. This advanced automatic worm screening and phenotyping platform gives researchers the means to collect rapid and precise whole animal data. It provides investigators the freedom to focus on the meaning of the data — by eliminating the need for countless hours of worm preparation and data acquisition.
NemaMetrix and Knudra Transgenics merge
NemaMetrix adds capability of creating custom transgenics by joining forces with Knudra Transgenics, a pioneer and an expert in providing transgenic C. elegans and zebrafish based in Salt Lake City. The combined company is in a stronger position to provide expertise and solutions to answer genome-to-phenome questions.


Doris Uhlich's 'Every Body Electric' marks the beginning of this year's Health Symposium. Joined on stage by people with physical disabilities, the artist will conjure up individual and collective 'energetic icons'. This performance is a pared-down but radical invitation to explore potentials through the medium of dance. It will enable the audience to immerse itself in a kind of energetic archaeology. What possibilities emerge when machines such as wheelchairs are taken to be extensions of the body?


text:
import { action } from 'utilities'
import {
  LOGIN_REQUEST,
  LOGIN_SUCCESS,
  LOGIN_FAILURE,
  OTP_REQUEST,
  OTP_VERIFY,
} from './types'

const otpRequest = email => action( OTP_REQUEST, { email } )
const otpVerify = ( email, passCode, navigation ) =>
  action( OTP_VERIFY, { email, passCode, navigation } )

const Login = {
  request: () => action( LOGIN_REQUEST ),
  success: profile => action( LOGIN_SUCCESS, { profile } ),
  failure: error => action( LOGIN_FAILURE, { error } ),
}

export { Login, otpRequest, otpVerify }


text:
Every Black Sabbath Album Ranked From Worst To Best
10 Dramatic Celebrity Weight Losses
Few bands are as revolutionary as Black Sabbath. They basically created heavy metal. A bunch of guys in Birmingham were getting angry at the monotony of their lives and they used loud, aggressive, rocking music to escape that. They're an inspiration to all of us to channel our anger at the world into art. It will find an audience, because everyone's angry at the world! Black Sabbath have been on and off for years – kind of like Ross and Rachel – but after a triumphant comeback in 2013, they have sadly decided to close up shop forever with their "End of the End" tour. But at least they're leaving behind some great albums. Here are all of those albums, ranked from worst to best.
19. Forbidden
Forbidden sucks. Everyone agrees. The fans, the critics, the general public – Forbidden is simply not a good album. It suffered from last minute changes to the band's line-up and a mismatched collaboration with some members of Body Count (including Ice-T) and all of the members of the band recording their parts of the album separately – you can't get any energy or chemistry among the band if they're not at least all in the recording studio together at the same time. How hard is that? Well, technically, they were all contracted elsewhere, but still! Blender magazine called Forbidden "an embarrassment" and "the band's worst album." Ouch!
18. Never Say Die!
Never Say Die! was the last album that Ozzy Osbourne recorded with Black Sabbath until he reunited with them 35 years later. The fact that he's on his way out is clear from the way the album has been hashed together and it's being pulled in all kinds of different creative directions. It's like a latter day Beatles album. The cracks in the band's dynamic are starting to show. Osbourne later decided he hated the album: "The last album I did with Sabbath was Never Say Die! and it was the worst piece of work that I've ever had anything to do with. I'm ashamed of that album. I think it's disgusting." He doesn't remember it fondly, does he?
17. Born Again
The best bands are the ones who meet when they're nobodies, get together and start jamming, and then go on to become a huge hit as a close-knit group of rockers. That's how the original line-up of Black Sabbath got together. The worst bands are the ones who are manufactured and put together by producers, like One Direction. Sadly, that's how the Black Sabbath line-up of Born Again got together. Guitarist Tony Iommi said that the line-up was "put together on paper" by their new management. It was the band's first and only album with Deep Purple lead singer Ian Gillan, who was chosen because, in Iommi's words, "his shriek is legendary." It's an interesting album, but one that was manufactured by corporate schmoes.
16. The Eternal Idol
Black Sabbath's The Eternal Idol finds the band at a time when they're kind of on the ropes. The heights of fame that they had in the 1970s when Ozzy was at the helm had faded away and all that was left of the band's initial line-up was lead guitarist Tony Iommi. The 1980s were in full swing and cheesy pop music was on the rise. It seemed like Sabbath's time was over. And then The Eternal Idol came out. It was quickly swept under the rug by rock music enthusiasts and Black Sabbath devotees, but Iommi has since reflected on the album and believes that it deserved a lot more praise, particularly for the track "Ancient Warrior," and he has a point – it is a great track.
15. Cross Purposes
Not even Ronnie James Dio stuck around for Cross Purposes, so it's not only Ozzy-less, but it's also Dio-less. So, considering that, Cross Purposes manages to be somewhat of a success. The critical reception was mixed. Guitar World magazine gave it the number six spot on their list "Superunknown: 50 Iconic Albums That Defined 1994," but the Rolling Stone Album Guide gave it just two stars out of five and Entertainment Weekly gave it a D grade. For a Sabbath album with Tony Martin on vocals, this one manages to be surprisingly good – but it's nowhere near the band's best.
14. Technical Ecstasy
When Black Sabbath decided to shake things up and try something new, they made Technical Ecstasy – an album that departed from the dark and gloomy and angry tone of the band's previous work. This grew out of fears that the band's fan base and the press would criticize them of doing the same kind of stuff that they had always done. But they went too far the other day and we got all kinds of weird stuff like "It's Alright," a ballad that was written and sung by the drummer Bill Ward. It's fresh and exciting at first, but it's also very hit and miss.
13. Tyr
Concept albums are always risky. They can either pan out and be totally awesome or they can crash and burn and suck, because a concept album is only as good as its concept. The concept here is Norse mythology. Bassist Neil Murray rejects this idea and says that the album is not connected by the tenets of Norse mythology, but come on. Just look at the title. Tyr is the son of Odin and the god of single combat and heroic glory. And the titles of the tracks are things like "Odin's Court" and "Valhalla." It's definitely a concept album – and as a concept album, it's a huge success.
12. Seventh Star
Seventh Star is not very Black Sabbath-y. All we have of the original line-up in this one is Tony Iommi on the lead guitar. Everyone else has been brought in afterwards, so it's not even really technically Black Sabbath material. It's some other band with a heavy metal style that's quite similar to that of Black Sabbath and happens to feature Tony Iommi, the guitarist from Black Sabbath. Still, there are some tunes on this album that are very catchy and easy to bang your head to, as well as some that are oddly melodic with a glaze of Sabbath-style aggression.
11. Headless Cross
The first Black Sabbath album to feature legendary drummer Cozy Powell, who has drummed for everyone from Whitesnake to Brian May, Headless Cross marked a major comeback for the band. They'd released a bunch of lacklustre albums in the years since both Ozzy Osbourne and Ronnie James Dio had left the band, one after the other, and then finally, they came out of the blue with a fantastic later era album that saw them return to form. Tony Martin, who provided the vocals for the album, was so proud of it that, years later, he named his own band after it.
10. Dehumanizer
Yes! Ronnie James Dio was back on vocals. Geezer Butler was back on bass. We'd had years of Black Sabbath albums and concerts and tours that didn't feature any of our Black Sabbath guys, and then almost a decade after either of them had featured on one of the band's albums, Dio and Butler were back. Tony Iommi was on the lead guitar, too, but he never left. The band spent months of studio sessions working on this album – bootleg recordings of which are still circulated today – to make sure that they could capture the energy of a live performance and give the fan base a basic, stripped down, rocking album. And they delivered!
9. Heaven and Hell
Given that the name of the band is Black Sabbath, you might expect that a lot of their songs are going to have themes about religion. There's no album by the band with more of a focus on religion than Heaven and Hell, their first album with Ronnie James Dio as their frontman. And while you'd be forgiven for condemning the album for endorsing or at least contemplating Satanism, Heaven and Hell is one of the most electrifying heavy metal albums ever recorded. A lot of diehard fans reject the Dio era tunes as inauthentic Sabbath, but even without Ozzy, you can't deny that this is some of the band's best stuff out there.
8. Sabbath Bloody Sabbath
Sabbath Bloody Sabbath is one of Black Sabbath's trippiest and most mind-bending albums. As their sound changed in a more head-screwing direction, the mainstream critics started being a little nicer to the band. And it's not just the press who loved it either. Other rock stars shower this album with praise. Slash, the iconic guitarist from Guns 'N' Roses, is a huge fan of the outro from the title track of this Sabbath album. "To this day, I haven't heard anything as heavy that has as much soul," he said. It's a great album with some heavy, yet passionate tracks on it.
7. Sabotage
Black Sabbath recorded Sabotage when they were in the middle of an intense legal battle with their former manager, and as always, they channeled their stress and their anger into their art. Only with a band as inventive and brilliant as Black Sabbath could litigation from an old business associate result in the birth of thrash metal. The Sabotage track "Symptom of the Universe" is what led to the development of the thrash metal subgenre. This is yet another example of Sabbath revolutionizing rock music in an increasingly aggressive way. They're the angriest musical geniuses out there.
6. Mob Rules
Rock legend Ronnie James Dio only ever did two albums with Black Sabbath – this one and Heaven and Hell. Mob Rules was his second and final album with the band, and it's clear that after his first album, the band started letting him bring in some of his own ideas and stylings, so you can notice a departure from the heavy focus on how awesome Satan is that was on display in Heaven and Hell. The beauty of Mob Rules is that it's a warning about the futility of anarchism hidden under the shell of a celebration of it. Great album!
Black Sabbath's debut album is also one of their best. The album is widely regarded to be the first heavy metal album ever created – AllMusic called it "the birth of heavy metal as we now know it" – so aside from being awesome, it also marks a historical milestone. It was recorded over the course of one twelve-hour session. Tony Iommi said, "We just went in the studio and did it in a day – we played our live set and that was it." The track listing on the album is incredible. There's "N.I.B." and "Evil Woman" and "The Wizard." It's a phenomenal album.
4. Paranoid
Paranoid was Black Sabbath's second album, so they didn't have as much creative control as they would've wanted. For starters, they didn't have control over the title. They wanted to name it after their powerful anti-Vietnam War anthem "War Pigs," but the record label saw more potential for a single in "Paranoid," so they made them call it that. "Paranoid" has gone on to become arguably the band's most popular and beloved song. Funnily enough, the band members hate the song. They just hashed it out in less than an hour when they realized they didn't have enough songs for a new album. However it came to be, "Paranoid" is a great song – as are the rest of the tracks on this seminal album.
In 2013, Black Sabbath got their original line-up back together for the first time in years – well, minus drummer Bill Ward, who was replaced by Brad Wilk from Rage Against the Machine – to create what would turn out to be their final studio album ever, 13. Tracks like "End of the Beginning" and "God is Dead?" and "Damaged Soul" were instant Sabbath classics. It was a fierce comeback for the band, who had been a shadow of their former selves for years. All of a sudden, they came out with some of their heaviest and most interesting music of all time.
2. Master of Reality
With their self-titled debut album, Black Sabbath created heavy metal. With Master of Reality, they explored new sounds and themes and ideas. They've done this a few times, with Technical Ecstasy being one notable example, so it can often . But don't worry, because no new sound experimentation by Sabbath worked out more resoundingly well than Master of Reality. They ended up created even more genres, like doom metal, stoner rock, and sludge metal. Every track on this album – from "Sweet Leaf" to "Children of the Grave" to "Into the Void" – is a trippy mind bender that takes you on an odyssey of sound. It's truly astounding stuff.
1. Vol. 4
Ever wondered why Black Sabbath's fourth studio album has such a simple title? Well, that's because they wanted to name it after the track "Snowblind," but since that's a very thinly veiled reference to the band's heavy cocaine use, the record label made them change it. Vol. 4 was Sabbath's first album to be produced entirely by the band themselves, which meant that they had almost full creative control (over everything but the title). It's a wacky album. The band were snorting mountains of cocaine in the recording studio. They regularly had speaker boxes full of coke brought into the studio. "Cornucopia" was recorded when the band members were "sitting in the middle of the room, just doing drugs." But as it turns out, all of the band's coke-fueled antics were worth it, because it gave us their greatest album of all time. "Supernaut" is a favorite of many rock legends, from Frank Zappa to John Bonham, while "Changes" showed us a more sensitive side to Sabbath.
Next	Next: 10 Celeb Marriages That May Come To An End In 2018
Related Topics:black sabbath, master of reality, music, paranoid, rock
10 Celeb Marriages That May Come To An End In 2018


Literally dozens of new (pocket) historic districts and individual potential landmarks in West Adams have been identified recently by SurveyLA, including many historic resources WAHA has known about for years -- and some that are surprises to us as well.
SurveyLA -- the Los Angeles Historic Resources Survey -- is Los Angeles' first-ever comprehensive program to identify significant historic resources throughout our city. After a few test runs, the first phase of SurveyLA was launched several years ago with the goal of documenting Los Angeles's previously unknown/unrecognized – at least, by city officials! – historic resources. Since then, SurveyLA teams have combed through the Community Plan areas of South Los Angeles, Southeast Los Angeles and West Adams- Baldwin Hills-Leimert – in other words, much of Historic West Adams – along with other parts of the city.
The initial results were published in conjunction with the work other city planners are doing to update and revise our local Community Plans. WAHA has been reviewing the 1,000-plus pages of results for South Los Angeles and West Adams-Baldwin Hills-Leimert (no, we are not finished reading!) and we were pleased with the identification of Wellington Square, Victoria Park and the remaining "orphan" sections of University Park and North University Park as meriting historic district status on the California and/or National Register level. In recent years, WAHA has worked hard to bring forward historic and cultural resources associated with important personages in our local history, and we were pleased to learn that many of the buildings we identified in our West Adams' Landmarks of African American History were included as individual historic resources in the SurveyLA results. Homes belonging to notable African American record producer Reb Spikes, jazz musician Eric Dolphy and dancer Bill "Bojangles" Robinson are among the many landmarks from WAHA's publication now included in SurveyLA.
The SurveyLA team was surprised to discover a Sephardic Jewish synagogue in Exposition Park built in 1932 by local Jews with Spanish and Portuguese roots (the building is now home to a Baptist congregation). SurveyLA has also identified Art Deco and Egyptian Revival style buildings, resources identified with Japanese-Americans, and clusters of fourplex apartment buildings in historical architectural styles.
WAHA has also noted, however, some gaps in the documentation as well as some district boundaries that seem arbitrary (in part due to the SurveyLA scope of work that EXCLUDES already-designated historic districts, be they HPOZ or National Register; as a result, nowork was done to identify individual landmark-quality buildings if they are already within a designated District boundary.) To begin the discussion and address WAHA's initial concerns, WAHA met in late January with Ken Bernstein, manager of the Office of Historic Resources (OHR), and Janet Hansen, OHR deputy manager and the director of SurveyLA.
Among the items we discussed were historic district boundary concerns; SurveyLA's criteria, standards and methodology, including themes and periods of significance; how SurveyLA relates to ongoing protection of historic resources (and if it does); the exclusion of Washington Boulevard from this phase of the citywide survey; and the recommendations for Arlington Heights.
WAHA learned that SurveyLA will convey some protection to the many historic resources that have been identified, but only when a discretionary project is involved. In other words, if someone wants to demolish a Victorian-era single family house and replace it with another, modern, single-family house and there are no "entitlements" such as a reduction in front yard or side yard setbacks involved, this would be considered a simple "By Right" project, and there are no protections for the historic resource and there would not be a review under the California Environmental Quality Act (CEQA). If a developer wanted to demolish an identified historic resource in order to build a project that requires a series of approvals, then CEQA applies and there are some protections built in. But SurveyLA does not officially designate anything.
Washington Boulevard will not be evaluated until the end term of SurveyLA, when the team turns its attention to industrially-zoned properties throughout the city. This is unfortunate, as WAHA pointed out, since Washington Boulevard's "industrial" (CM, commercial manufacturing) zoning is a fluke that grew out of the 1965 Watts Riots, in an effort to create jobs; the buildings in fact reflect the boulevard's development as a Streetcar Commercial Corridor in the 1920s and 1930s and in fact little to no commercial manufacturing ever moved into these character structures. Having the "wrong" context theme (industrial rather than streetcar commercial) doesn't help inform the evaluation of the buildings on Washington Boulevard or, for that matter, the residential buildings nearby erected in the same time period. In any case, due to the nature of SurveyLA's current funding structure, there may not be a way to adjust this timeframe.
WAHA took photos of one overlooked street, and prepared a sample to present at our meeting with OHR. We noted that of approximately 80 parcels in our sample, about 66 of the structures were either Contributors or Altered Contributors, and only 13 were downright Non-Contributors. We are hoping that this one sample will result in a re-evaluation of Arlington Heights as a whole.
Meanwhile, SurveyLA is a living, breathing document and OHR still welcomes your contributions. If you are aware of a home or other building that (especially) has a significant cultural history, please do let the team know.


text:
Google Starts New Collaborative Project With Miku
hightrancesea Uncategorized March 11, 2012
On March 9, Google and Crypton Future Media unveiled their latest collaborative project, which is intended to further develop and expand the creative movement behind Hatsune Miku, as portrayed by the line "Everyone, Creator" at the end of the Google Chrome video. The Google+ page is available in both Japanese and English. To kick off the project, the organizers want to show people who have only listened to and watched these creative works to get a taste of what it's like to actually create one such work. The first creator to take part in this will be announced on March 17, although a never-before released 39 second demo was uploaded to YouTube. Viewers are encouraged to guess which producer made this song and to post their guesses on the Hatsune Miku Google+ page, with winners possibly getting something nice in return. Further updates about the project will show up on the Google+ page as well. Oh, and in related news, according to a Yahoo News article, Crypton wants to put out a new version of Hatsune Miku by the end of the year, and it is going to have English capabilities for the fans all over the world.
About: hightrancesea
5 thoughts on "Google Starts New Collaborative Project With Miku"
Amir Bahrami says:
Wow this is exciting new definitely a more efficient way the most to do some good advertising and name recognition for Miku's brand. And of course I cannot wait for English Miku, without her Cowboys cheerleader outfit though…
o-o says:
The demo is even harder to guess since Miku isn't singing! D:
I'm usually good at guess which producer by how they make miku sing.
Good idea to promote Miku's profile on G+, only 14k listeners so far but nevertheless a good thing that CFM is not focusing solely on FB.
Pingback: Nueva colaboración entre Google y Hatsune Miku | koi-nya
jeff chua says:
already following ^^


@mercinwithamouth: Yeah the cape definitely looks too much like Arkham Knight. Not sure about the background though but that's fake as hell.
I want Rocksteady to make a game where a street leveller is the main character, because I'd rather play as a street leveller than an extremely powerful character (i.e Superman). The reason I want Rocksteady to do it is because the way they make the settings and combat system. Like, the graphic and details were absoloutely heavenly in Arkham Knight.
@lvenger: Yeah, it's a modded Origins skin with an edited Watchdogs backdrop.
Rocksteady? no thanks, if they made it everyone would say its to much like batman bla bla bla. anyone that's passionate will and can easily make a great superman game - to many batman fan boys on this subject.
@gunns85: I'm sure they'd be smart enough to not make it very similar to Batman.
It would have to be double the size map as Arkham knight, and going by there games I'm not sure they could do it with a big enough story line, all the batman games I think are to short!
@gunns85: It'd have to be bigger than that in my opinion. Flying faster than sound would get you around much faster than Batman glides. The Batman games have good length, especially when you consider the side missions which are their own little tales.
@mercinwithamouth Yeah true, but yo don't need him to fly as fast as everyone thinks, superman returns did a good job at the flying part.
Double that size, easy the size of GTA will be sweet.
@gunns85: Double the size of Superman Returns? I guess I could see that, maybe. Superman Returns just needed more variety in terms of landscape instead of their clumped up pile of city.
My brother, girlfriend and I have discussed ideas surrounding a Justice League game and what it could entail. I see the ideas as ambitious, elaborate, but feasible given someone would put in the time to make it. Was considering making another "article" based on that and we we've talked about as well as finalizing this one here. Anybody interested in seeing that based on this piece?
@mercinwithamouth: Sounds good. Is the idea with the Arkhamverse in mind, or just a JLA game in general?
@zaied: Justice League. There are a small number of things that will emulate the Arkham games for Batman.
@zaied: In terms of plot, we're not quite sure. I'm thinking about having something similar to the synopsis for this with more added on. I like the idea of Cadmus refining the Titan formula and Luthor being the one who provided it, since it makes sense with Arkham Knight thugs saying Luthor was rumored to have put money into Scarecrow's plot in the game. Could have traded the last of the Titan for a shiny penny. That alone gives you an enemy type that is both very strong and durable, along with some story.
@mercinwithamouth very interesting - liking it more, need a big open world and be able to play online with friends.
Anyway, we're thinking that with the online aspect it could be somewhat like an RPG and you could level different members of the League through missions/open world objectives or helping your friends accomplish those missions. I'll give you an example in a bit on how things could work.
@gunns85: You're playing as Superman and your Super Hearing prompts you to a location on the map along with hearing something like "Come Kryptonian! I give you oblivion." Now, let's say you're having trouble with Mongul Boom Tubing into Metropolis with some baddies. At that point in time your Superman isn't really up to par with this mob yet and you need help. You message me and ask if I want to help out and I tell you something like "Yeah, give me a minute to get on my Batman." When I get on I take my Zeta Tube from the Batcave to the Watchtower and "prep" which is something I like with these characters (Especially Batman given how his gameplay could change) in order to help take down threats like this. As Batman, I could gather certain "items" (able to use more as you level) in order to help prepare for the fight. For instance, we're going up against Mongul and co. and I've progressed far enough on Batman to use the Hellbat armor located in the Watchtower, I'd take that and could even make a preemptive strike by taking the Batwing, ejecting and crashing it into him before we throw punches. Using the Hellbat armor would change Batman's fighting style to something more akin to what Superman or Wonder Woman do but with minor martial art-esque changes. Using the suit slowly causes Bruce's health to drain and eventually I'd have to eject from the suit and fight smarter because I'd be vulnerable. After beating the boss you'd get rewarded in one way or another, whether it's skins, xp, etc. We're still talking that over.
It's rather complicated and we're talking about ways to narrow it down some.
@mercinwithamouth so when are you starting work, give this guy a job WB or Rocksteady!
I would totally be down with being the assistant to the creative director or something like that.
@gunns85: As am I, the thread concerning it has some interesting things pointing to one.
@gunns85: That'd be a little intense in my opinion. I don't see a feasible way of doing that given everyone's abilities and how different they all are. You also have to consider things like someone playing Superman and barreling into another character who is weaker at supersonic speeds. That or playing as Flash and using your Speed Force meter on a very strong and fast punch/barrage of punches on someone like Batman. I'm sure there might be a way it could work, but I don't think so. I could see something like 3v3 being more plausible than 8v8, I think that's too many but it does sound awesome. It'd be very chaotic and destructive if in a populated environment.
What we do need first of all is a supes game, that's for sure.
I was rereading this today and went ahead and updated a lot of it. The formatting, wording (awful and redundant), removing and adding of ideas. I'm happier with it than I was before but I'm still not finished. I'll will complete it's plot and more when I'm finished with my Justice League piece, which I'll be posting that within the next week, hopefully.
Story is simply a placeholder since it's not my forte, nor do I feel this piece complete without one.
Please forgive me for the length, size of the pictures, and any of my obnoxious repetition.
Brainiac has bottled Metropolis and empowered super-villains in order to finally get rid of Superman! Drained from your fight with Doomsday, you need to find other means of regaining your strength. As the Man of Steel, you must stop Brainiac and his allies, restore your beloved city, and save the day!
I won't be too specific here and will update this when I've developed it more.
I believe either Rocksteady or Avalanche should make the game. I trust Rocksteady with it due to their past with Batman, making fantastic story/gameplay driven tales for one of the most iconic superheroes of all time. But, I also feel Avalanche could do it thanks to their experience with the Just Cause games. They build enormous open worlds accompanied by gameplay that is fun, over-the-top, and destructive.
This is Avalanche's work in action. My favorite part of this whole trailer is definitely the beginning. I love how the environment around him looks as he's falling through the sky. I can just picture Superman's cape raving around while soaring through beautiful, sun drenched clouds.
In Arkham Asylum, Batman had his own look given to him that is original to that game, while also being inspired and looking like Batman should. When I think of how Superman should look in this game, I lean towards something like this. I'm mostly talking about his face/hair and the perfect size of the "S" symbol. The suit of course would be something original, but inspired.
The gameplay will be centered on feeling like you are Superman; a very powerful force of good that uses your abilities to save lives and to go toe to toe with other strong enemies in epic combat, such as Livewire, Metallo, Parasite, Doomsday, and more.
I'll reference Superman Returns: The Videogame (2006). Many think the game is horrible. I'd say it's slightly below mediocre. Tons of elements in that game work when you actually think about it and could be improved upon in order to make a superb Superman game. We'll discuss problems, improvements and ideas that could be implemented.
Many people think it isn't possible to make a Superman game because they feel he is invincible or overpowered. This is false, as Superman has a number of villains in his rogues' gallery that can harm him. Superman is also always holding back so he doesn't hurt anyone, which gives reason as to why you wouldn't be able to do anything super intense in the game unless it calls for him to use such power. Even if this was a problem, a developer could make him something akin to "Man of Steel" Superman, still powerful but not ridiculous.
I think Superman should have a health bar, but only in certain situations. This provides tension during certain points in the story and forces players to be on their toes when this becomes part of the gameplay. I could see this occurring more often when fighting certain bosses.
Something Superman is famous for is switching from Clark Kent to Superman in a phone booth. I feel this can be a very powerful feature in the game, going from Clark Kent to Superman at will. His transformation could be done at almost anytime (certain missions would prevent this feature) via super speed. When becoming Superman, an animation could occur where Clark pulls his shirt apart to reveal the S symbol, then spinning into a blur that quickly changes outfits. It'd be a cool reference to give players the option to switch in a phone booth too.
With "help" from Luthor, you will restore your powers to their normal state throughout the game. Powers will become more potent as you progress and you'll unlock skills tied to those powers.
I personally feel it shouldn't take you the entire game to unlock your full power-set. Instead, I'd like to have all my powers back at around 25 - 35% through and after that continue to upgrade with damage, skills, health etc.
Regular combat will mainly be a sort of block/retaliate. You can block/dodge incoming attacks and then counter your with what you feel necessary to get the job done. A powerful boxing/brawler kind of feel that he's shown in the comics. Ground Takedowns are especially helpful in fighting as well.
Ground Takedowns - This is useful against enemies who are knocked down. Superman will deliver a formidable blow that will KO or destroy the opponent. Animations could vary greatly.
This will come in the form of a meter that you can expend decent fractions of in order to use your Amped Powers. It will slowly deplete when using powers that draw from this resource and regenerate by itself. It will fill even faster depending on your altitude (after city is restored). This is endless for a period of time after you Sundip.
Unlocked near the end of the game, you can fly towards the sun while in Space (See "Space" near the end of the post) via seamless cut-scene from there. This will make your Solar Power Meter endless for a period of time while increasing damage and durability.
Superman can perform a Super Move when he's reached a certain amount on the hit counter, which he can use on the following.
Super Slam - The Man of Steel raises his fists in the air before bringing them down with great force, causing AoE damage. This will knock enemies into the air as well.
Thunderclap - Superman crashes his hands together, leading to a massive shock wave that causes AoE damage and knocks down enemies.
This power will allow you to punch enemies long distances, into buildings, beat them into the ground, and knock them senseless. You can utilize your surroundings by picking up objects whether it's a car being thrown, or hitting them with a light pole. Your charged punches will create large shock waves because they deal more damage. They will also send foes sailing through the air and into objects or obstacles, doing damage and leaving them open to Flight Combat (See below). When your hit counter is charged, normal punches will deal more damage and make small shock waves. These punches make your enemies airborne.
This seemed to be the best thing about Superman Returns, as it's what made us feel most like Superman. The feeling of traversing through the air at supersonic speeds averaging at 800 mph is a rush, especially when you break the sound barrier. Though, I feel it could be kicked up several hundred mph throughout the game via "upgrades". This is so flight feels more intense and empowering, gives a sense of progression, all while simply getting you around quicker. When you achieve faster speeds for flight, I think it should built up over time, making you faster and faster till you reach the cap. Flight will also play a part in combat as well as be your fastest choice for travel. I think an optional 1st person perspective that's toggled would be really cool.
This simply allows you to launch skyward and continue flying when holding down the button for toggling flight. The longer it's held, the faster you'll fire upward.
This power can be used while running, flying, or to enhance your perceptions. When running, you can essentially use the shoulder buttons to shift into a higher tier of speed.
This is toggled and will draw heavily from your Solar Power Meter, allowing the player to witness actions around them in slow motion.
Much like Arkham City's "Detective Mode" this will serve the purpose of seeing through walls to view enemies and solve objectives. This will be an important ability when doing missions as Clark Kent. It should look far more natural than "Detective Mode" and seem less technological.
This is an image of when Clark uses his X-Ray Vision as a child in "Man of Steel". I was thinking something along the lines of this.
This will be the power used to alert you of dangers throughout Metropolis. Situations that require Superman's attention will ping the player to a location somewhere in the city. The noises being heard can help describe what is taking place at the pinged location.
2. Citizens cannot be harmed/targeted by Superman's powers (ala Arkham series w/gadgets against citizens).
Now, Superman Returns needed more common occurrences. You'd get the occasional building on fire, but nothing else that seemed rather typical or "everyday." Only the first and last levels are natural disasters, something that I believe should arise, but somewhat rarely while playing.
1. I could see Metropolis having something much like New York's "Central Park", and under certain weather conditions, there's a chance lightning could spark a wildfire which could call for your Super Breath or a way of supplying large amounts of water. Building fires would also be a random occurrence.
2. Metropolis lying close to large body (or bodies) of could render it prone to tsunami's or floods. Large waves which can be taken care of via Super/Freeze Breath.
3. Earthquakes occurring and resulting in unavoidable damage to the city, but causing dangerous situations for some of the populace.
4. I feel meteor showers should also transpire, but very rarely. The player could destroy them in different ways depending on their size. Brute force by flying straight into them can destroy small - big meteors, while heat vision can destroy small - medium. Flying into one and slamming it into another could save time.
5. Tornadoes. Of course, these can range in size. The player could get rid of them in different ways depending on how big or small they come. A powerful thunderclap could dissipate it. Switching to the "amped" super breath and blow it away. Building up a very high speed while flying and then soaring through the vortex could also get rid of it.
These are jobs for Superman that yield experience to be used toward skins or damage/health boosts.
I do not feel that buildings should topple and be destroyed as a result of the player fighting. But the buildings that do get damaged can be repaired via super speed animation, providing XP to the player if they choose to take the time to go to the damaged building and perform the repair. When fixing the building, Superman flies around it after insane speeds, covering the whole thing in a red blur before stopping to reveal the structure looking good as new. If the player does not do this then construction teams will be shown at that building later, fixing it in a fair amount of time. The construction workers will call out to Superman and ask for help with the work load, leaving the option to fix the building and gain XP open for you unless the player decides to leave it to the A.I.
You will assist Ms. Lane with low-profile objectives as Clark Kent. As Superman, you are able to take Lois out on brief dates in the city. These side quests will entail Lois wanting to go to a certain location in Metropolis. The player will fly to her desired spot while flying through (Rings anyone?) hearts with the House of El symbol in them. Depending on where you are in the story, the characters will talk about certain things pertaining to your current progression. The player will fly Lois back to her apartment and emotionally wish the lady goodnight. I have not decided whether or not Lois should know his secret identity.
I think of this as a special place for Superman. The player can fly here by heading skyward and possibly hitting a point that activates a seamless loading screen of the them flying out of Earth's atmosphere and having Superman float there. I feel this could be much like Bruce's Crime Alley feature in Arkham City. Very inspiring music playing while floating above Earth and maybe having a slight green glow off in the distant of space that represents Krypton. Flying towards the North Pole will take the player to the Fortress, while flying towards anywhere else will send them back to Metropolis.
I feel players should be able to get here from Metropolis or space by flying towards it or through the pause menu. Costumes and challenge maps could be accessed through a Crystal Terminal or through the main menu (ala Arkham Knight).
⦁ Triangle: Toggle Flight/Hold for Up, Up, and Away!/Hold while locked on for Flight Combat.
This sounds really good! Who would you get to write the game? I would get Morrison or Johns.
I'd love to have Morrison or Johns write for it, for sure.
Maybe during boss battles, you can transition the boss to places without people or animals. I like the ideas.
Added supporting characters, villains, and mission types. Revised minor gameplay aspects and most of the wording. Will work toward more enemy types and missions based on certain villains.
I guess you weren't kidding when you said you'd be making major updates to your Superman game ideas thread. There is a lot of interesting, applicable and relevant content for a Superman game, ultimately too much I fear. That's the biggest issue beyond anything I or other posters may differ with you on. From the environment probably requiring a sizable engine to run Metropolis and other locations in detail to the myriad of ways you've detailed Superman's powers can be used in the game to the necessary programming for the combat, let alone the huge number of missions I doubt even a company like Avalanche can provide enough funding for half of your plans. The technology, running time and overwhelming amount of controls and gameplay would dwarf most other games even on current gen consoles and top tier gaming PC hardware.
@lvenger: I don't know about that, honestly. Sure, it seems like a lot but that could be the case with several games when copying down aspects. Though I feel it's likely some of this would be left out, I think it's surely feasible.
@mercinwithamouth: I doubt it, at the end of the day, most games have ways in which player characters can be harmed or they're ultimately human. With Just Cause 3, there is a vast environment, destructible surroundings and ways to fast travel around but they're done by a slightly above average human black ops soldier who knows about weaponry and vehicles. With a Superman game, you have a lot more ground to cover when making the game and more factors to take into consideration when making a game with a super powerful alien who by the mid-end of the game will be very powerful indeed.
@lvenger: but, it is hard to balance out, because in the beta footage I have seen, rico is an enormous bullet sponge, can smack into the ground from hundreds of metres up (in Wingsuit) and get up and only rub his head, and basically the only way to kill him in an explosion is to have him stand dead centre (and even then it has to be a large explosion) and rico is basically spiderman lite, imagine how hard SUPERMAN would be to make. You owe have to make the enemies ridiculously OP, depower him any time he fights an enemy, taking the fun out of it, or something.
@lvenger: I'm saying it seems like a lot but there's a lot that goes into a game. If I were to make an article covering what you can do in an Arkham game or others, it'd be long as well. I think this game is surely doable, but a developer would need to take the time necessary to make it. I see your worries being far more applicable to my Justice League post.
@battle123axe: Lol that is true, Rico can do stuff that would knock any normal human being dead on impact because that's video game logic. So Superman's an even trickier character to balance, I usually argue against Superman being that overpowered but in the context of a video game, I admit Superman's powerset makes it harder to translate into a compatible video game for people to play. I do hope that someone does it right one day because if anyone deserves a good game, it's Superman.
@lvenger: I'm not sure what you're saying with the possibilities part, could you elaborate? As for the Justice League post, it is rather large in size. Mostly because of locations, enemies, and character gameplay. Batman alone is pretty intense. His gameplay is like Arkham with a number of additives, mostly surrounding gadgets, items, and vehicles. Superman is pretty similar to what you see here, but has certain things cut. I'm rather proud of Flash, which I can PM to you soon if you want. When coming up with Wonder Woman I thought of her skill and power, so I combined Superman and Batman's gameplay in a way. Green Lantern is very interesting, I think he'd been unique and fun to play.
@mercinwithamouth: When I refer to possibilities, I mean what Batman can do is still limited and can fit within game mechanics. He's a master martial artist with an array of hi tech gadgets but he can still be beaten up by another thug or a supervillain so you can die to stuff like that in the game. With travelling, Batman can glide across Gotham or drive through it with the Batmobile but it's not as if he can drive on water with it. And missions can be kept in Gotham over one night. That's all different with Superman, his powerset, world and ability to jump or fly around change those parameters. I have yet to see a well received previous gen or current gen game with a character that has superhuman powers, let alone the power level of someone like Superman. That's what I meant by possibilities.
@lvenger: Ahh, I get what you mean. Though I feel his powers fit into gameplay mechanics rather well given you aren't making him extremely powerful, Batman's are easier to translate. The strongest point you make is the fact that Batman can be beaten by his enemies. I don't see this as a problem with enemies, but rather Superman's general vulnerability. You can give him enemies who harm him, but "what about his health?" is a question that needs to be considered. I've thought about giving Superman a health bar due to the fact that he's weakened. I felt it could disappear much later in the game when your powers are restored, but with that comes the difficulty of keeping the experience alive and fun. In my opinion, it's one of those things that would need to be discussed with other members of the development team.
@mercinwithamouth: That might be a tenable solution but players who aren't Superman fans might be confused if Superman's health meter suddenly vanishes for certain boss fights with supervillains and once they get access to all of Superman's powers. You could get around this with the Metropolis health bar from Superman Returns but it could be a tough act to juggle whilst Superman does not have his full powers.
@enzo991: Yeah, I thought that was pretty cool. Hoping for that sequel to that in the near future. After seeing and playing MKX, I'm eager to see what it'd look like now.
Very true, I feel a number of things simply come down to actually testing what works and what doesn't when making the game.


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Ptolemy XV, better known by the nicknames Caesarion (Little Caesar), was the last Pharaoh of Egypt. He was the final member of the Ptolemaic dynasty of Egypt, who reigned jointly with his mother Cleopatra VII of Egypt, from September 2, 44 BC.
He held the position of sole ruler between the death of Cleopatra, on August 12, 30 BC, up to August 23, 30 BC, the time his death was ordered by Octavian, who would become the Roman emperor Augustus.
He was the eldest son of Cleopatra VII, and possibly the only biological son of Julius Caesar, after whom he was named.


Wilhelm Richard Wagner (22 May 1813 – 13 February 1883) was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas (or, as some of his later works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Weber and Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama, and which was announced in a series of essays between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung).
Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. It was here that the Ring and Parsifal received their premieres and where his most important stage works continue to be performed in an annual festival run by his descendants. His thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg).
Until his final years, Wagner's life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment in recent decades, especially where they express antisemitic sentiments. The effect of his ideas can be traced in many of the arts throughout the 20th century; their influence spread beyond composition into conducting, philosophy, literature, the visual arts and theatre.
Richard Wagner was born in Leipzig, at No. 3, the Brühl (The House of the Red and White Lions), in the Jewish quarter. He was however an ethnic German, the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife, Johanna Rosine (née Paetz), the daughter of a baker. Wagner's father Carl died of typhus six months after Richard's birth, after which Johanna began living with Carl's friend, the actor and playwright Ludwig Geyer. In August 1814 Johanna and Geyer probably married—although no documentation of this has been found in the Leipzig church registers. She and her family moved to Geyer's residence in Dresden. Until he was fourteen, Wagner was known as Wilhelm Richard Geyer. He almost certainly thought that Geyer was his biological father.
Geyer's love of the theatre came to be shared by his stepson, and Wagner took part in his performances. In his autobiography Mein Leben, Wagner recalled once playing the part of an angel. In late 1820, Wagner was enrolled at Pastor Wetzel's school at Possendorf, near Dresden, where he received a little piano instruction from his Latin teacher. He struggled to play a proper scale at the keyboard and preferred playing theatre overtures by ear. Following Geyer's death in 1821, Richard was sent to the Kreuzschule, the boarding school of the Dresdner Kreuzchor, at the expense of Geyer's brother. At the age of nine he was hugely impressed by the Gothic elements of Carl Maria von Weber's opera Der Freischütz, which he saw Weber conduct. At this period Wagner entertained ambitions as a playwright. His first creative effort, listed in the Wagner-Werk-Verzeichnis (the standard listing of Wagner's works) as WWV 1, was a tragedy called Leubald. Begun at school in 1826, it was strongly influenced by Shakespeare and Goethe. Wagner was determined to set it to music, and persuaded his family to allow him music lessons.
In 1829 he saw a performance by dramatic soprano Wilhelmine Schröder-Devrient, and she became his ideal of the fusion of drama and music in opera. In Mein Leben, Wagner wrote "When I look back across my entire life I find no event to place beside this in the impression it produced on me", and claimed that the "profoundly human and ecstatic performance of this incomparable artist" kindled in him an "almost demonic fire."
In 1831, Wagner enrolled at the Leipzig University, where he became a member of the Saxon student fraternity. He also took composition lessons with the Thomaskantor Theodor Weinlig. Weinlig was so impressed with Wagner's musical ability that he refused any payment for his lessons. He arranged for his pupil's Piano Sonata in B-flat major (which was consequently dedicated to him) to be published as Wagner's Op. 1. A year later, Wagner composed his Symphony in C major, a Beethovenesque work performed in Prague in 1832 and at the Leipzig Gewandhaus in 1833. He then began to work on an opera, Die Hochzeit (The Wedding), which he never completed.
Having returned to Leipzig in 1834, Wagner held a brief appointment as musical director at the opera house in Magdeburg during which he wrote Das Liebesverbot (The Ban on Love), based on Shakespeare's Measure for Measure. This was staged at Magdeburg in 1836 but closed before the second performance; this, together with the financial collapse of the theatre company employing him, left the composer with serious money problems. Wagner had fallen for one of the leading ladies at Magdeburg, the actress Christine Wilhelmine "Minna" Planer. After the disaster of Das Liebesverbot, he followed her to Königsberg where she helped him to get an engagement at the theatre. The two married in Tragheim Church on 24 November 1836. In May 1837, Minna left Wagner for another man; this was but the first débâcle of a troubled marriage. In June 1837, Wagner moved to Riga (then in the Russian Empire), where he became music director of the local opera; having in this capacity engaged Minna's sister Amalie (also a singer) for the theatre, he presently resumed relations with Minna during 1838.
By 1839, the couple had amassed such large debts that they fled Riga to avoid their creditors; debt would plague Wagner for most of his life. Initially they took a stormy sea passage to London, from which Wagner drew the inspiration for Der fliegende Holländer (The Flying Dutchman), with a plot based on a sketch by Heinrich Heine. The Wagners arrived in Paris in September 1839 and stayed there until 1842. Richard made a scant living writing articles and arranging operas by other composers, largely on behalf of the Schlesinger publishing house. He also completed during this stay his third and fourth operas Rienzi and Der fliegende Holländer.
Wagner's involvement in left-wing politics abruptly ended his welcome in Dresden. Wagner was active among socialist German nationalists there, regularly receiving such guests as the conductor and radical editor August Röckel and the Russian anarchist Mikhail Bakunin. He was also influenced by the ideas of Pierre-Joseph Proudhon and Ludwig Feuerbach. Widespread discontent came to a head in 1849, when the unsuccessful May Uprising in Dresden broke out, in which Wagner played a minor supporting role. Warrants were issued for the revolutionaries' arrest. Wagner had to flee, first visiting Paris and then settling in Zürich.
Nevertheless, Wagner was in grim personal straits, isolated from the German musical world and without any regular income. In 1850, Julie, the wife of his friend Karl Ritter, began to pay him a small pension which she maintained until 1859. With help from her friend Jessie Laussot this was to have been augmented to an annual sum of 3000 Thalers per year; but this plan was abandoned when Wagner began an affair with Mme. Laussot. Wagner even planned an elopement with her in 1852, which her husband prevented. Meanwhile, Wagner's wife Minna, who had disliked the operas he had written after Rienzi, was falling into a deepening depression. Wagner fell victim to ill-health, according to Ernest Newman "largely a matter of overwrought nerves", which made it difficult for him to continue writing.
Wagner's primary published output during his first years in Zürich was a set of essays. In "The Artwork of the Future" (1849), he described a vision of opera as Gesamtkunstwerk ("total work of art"), in which the various arts such as music, song, dance, poetry, visual arts and stagecraft were unified. "Judaism in Music" (1850) was the first of Wagner's writings to feature antisemitic views. In this polemic Wagner argued, frequently using traditional antisemitic abuse, that Jews had no connection to the German spirit, and were thus only capable of producing shallow and artificial music. According to him, they composed music to achieve popularity and, thereby, financial success, as opposed to creating genuine works of art.
Portrait of Mathilde Wesendonck (1850) by Karl Ferdinand SohnOne source of inspiration for Tristan und Isolde was the philosophy of Arthur Schopenhauer, notably his The World as Will and Representation, to which Wagner had been introduced in 1854 by his poet friend Georg Herwegh. Wagner later called this the most important event of his life. His personal circumstances certainly made him an easy convert to what he understood to be Schopenhauer's philosophy, a deeply pessimistic view of the human condition. He remained an adherent of Schopenhauer for the rest of his life.
In November 1859, Wagner once again moved to Paris to oversee production of a new revision of Tannhäuser, staged thanks to the efforts of Princess Pauline von Metternich, whose husband was the Austrian ambassador in Paris. The performances of the Paris Tannhäuser in 1861 were a notable fiasco. This was partly a consequence of the conservative tastes of the Jockey Club, which organised demonstrations in the theatre to protest at the presentation of the ballet feature in act 1 (instead of its traditional location in the second act); but the opportunity was also exploited by those who wanted to use the occasion as a veiled political protest against the pro-Austrian policies of Napoleon III. The work was withdrawn after the third performance and Wagner left Paris soon after. He had sought a reconciliation with Minna during this Paris visit, and although she joined him there, the reunion was not successful and they again parted from each other when Wagner left.
The political ban that had been placed on Wagner in Germany after he had fled Dresden was fully lifted in 1862. The composer settled in Biebrich in Prussia. Here Minna visited him for the last time: they parted irrevocably, though Wagner continued to give financial support to her while she lived in Dresden until her death in 1866.
is the first of the four operas that constitute The Ring of the Nibelung by Richard Wagner.
is the second of the four operas that constitute The Ring of the Nibelung by Richard Wagner.