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The Brian Kinler Band: "Euphoric" (2017) CD Review
I am always happy when there is a new CD release from the The Brian Kinler Band, and Euphoric in some ways is a return to pianist Brian Kinler's early work, without a vocalist. However, he's maintained the more pop and dance-oriented style he developed on his previous release, 2015's The Race Against Time, which featured vocalist Francesca Capasso on most tracks. Take the new CD's first track, "I Know, Madame," for example. It features that beautiful, light, thoughtful playing of some of his earliest material, but with a dance beat backing it, creating a fun atmosphere. And yeah, you can certainly move to the tune. It's like Brian Kinler has taken all he's done before, and built upon it. As with Brian Kinler's 2013 release, Not Your Everyday Amateur, the only member of the band to appear on these tracks is violinist Andrea Whitney (nee Gaspar). The rest of the sounds were created on Brian Kinler's keyboard, with some help from Andre Mayeux on several tracks. All songs on this disc are originals, written by Brian Kinler.
"I Know, Madame" is followed by one of my personal favorites of this new album, "Norway," a beautiful and uplifting composition. This is one of the tracks to feature Andrea Whitney on violin, and her work here is moving and feels integral to the piece rather than a solo over it. If you're like me and are constantly looking for music to raise your spirits and take you away from our current reality, give this track a listen. Andre Mayeux is responsible for programming the drums and bass on this track. By the way, a week ago, Brian Kinler released a video for this song, which you can view on You Tube.
"Night Goes Away" has some 1980s pop and dance influences, which might come as no surprise to those who've been listening to Brian Kinler all along. However, that one break toward the end of the track did actually surprise me, that shift that made me want to create a dance floor here in my apartment. Brian Kinler's music often tells a vivid story without any lyrics, and "Nearly Like Us" certainly pulls you in and takes you on a journey. And I love that moment when it opens up into a brighter place, a place where I'm guessing we all want to be. Andre did the drums and bass on this track.
Another of my favorites is "The Red Wedding." And no, I didn't know the reference at first, having never seen Game Of Thrones (though several people have recommended it to me). Someone told me to do an online search for "red wedding," and so I did. I'm not sure seeing that scene has given me any more appreciation for this song. I loved this track before viewing that sequence from Game Of Thrones. This is another of the songs to feature Andrea Whitney on violin. It is pretty and delicate at moments, powerful at others, then totally fun at still other moments. Brian has the ability to take you in whatever direction he desires and make it work. By the end of this track, it's made me deliriously happy, something I wouldn't have guessed at its beginning. Andre is responsible for the drums, bass and horns.
Brian Kinler then turns more thoughtful and introspective again with "I Can't Remember Your Face." Actually, this song feels like it is simultaneously turning inward and reaching out, and it features more beautiful work by Andrea Whitney on violin. Then "Wanna Get You Alone" begins with a good groove and quickly moves in a dance direction. But, as I mentioned before, Brian can switch gears on you before you've even noticed, and there are quieter moments within this song before he returns to that groove.
"Once Is Not Enough" is another of my favorites. When it begins, it has a gentle, pretty touch, and then develops into a gorgeous romantic piece. Andre Mayeux wrote and performed the string part for this one. It's a beautiful song, and ends gently. And then, bam, the next song, "Catnip," begins with a good thumping rhythm and some joyful work on piano. This is yet another of the disc's highlights. A drum solo? A bass solo? Yes, sort of. It's all done on Brian's keyboard, the drums and bass by Andre. I particularly love Brian's playing at the end of this track. The CD then concludes with "Joy," which has a 1980s vibe at the start, and becomes a rather beautiful and positive song.
I Know, Madame
Night Goes Away
Nearly Like Us
I Can't Remember Your Face
Wanna Get You Alone
Once Is Not Enough
Euphoric was released on May 22, 2017. And for those folks in Los Angeles (or for anyone who can get to Los Angeles), the original line-up of the band is getting back together for a gig at Vitello's on July 23rd. See you there!
The New Vision Sax Ensemble: "Musical Journey Through Time" (2017) CD Review
I was certainly curious about The New Vision Sax Ensemble's release, Musical Journey Through Time. After all, the group is a saxophone quartet, so while most of the material might be familiar – "A Night In Tunisia," "Round Midnight," "My Favorite Things," etc. – the approach was going to be different from other renditions I've heard. Of course, as this CD clearly demonstrates, there are a lot of different sounds that can come from the various types of saxophones. Diron Holloway plays soprano, clarinet and alto saxophone; James Lockhart is on alto saxophone; Jason Hainsworth is on tenor saxophone; and Melton R. Mustafa plays baritone sax. And together they create some gorgeous sounds. But what really struck me was the joy of their playing. It's clear in every note, and it makes this album a delight to listen to. The group is based in Florida.
They kick off the CD with "Conservation," written by Bobby Watson (who himself was a member of a saxophone quartet, The 29th Street Saxophone Quartet). And what a joyful way to start the album. Seriously, there were at least two moments when I laughed aloud out of sheer joy while listening to this track. This is a playful, delicious rendition. The group follows that with Dizzy Gillespie's "A Night In Tunisia." This is a good rendition, and it's interesting how the different saxophones work together here, with the baritone sax working as the bass. Both Diron Holloway and Jason Hainsworth take leads on this track. But most of my favorites on this disc are the more playful, lighter numbers, like "Won't You Come Home, Bill Bailey," which is a total delight. That is followed by a cool rendition of Thelonious Monk's "'Round Midnight."
I've said it many times, but you can never go wrong with Gershwin. Oddly, I think the first time I actually heard the name Gershwin was when I was a child watching WKRP In Cincinnati. In one episode, Mrs. Carlson asks Johnny Fever to play some Gershwin. Johnny replies, "On the air?" So I was of course immediately curious as to who this Gershwin person might be. Turns out it was two people, but you know that. (If you're curious, Johnny Fever plays "Someone To Watch Over Me" in that episode.) Anyway, here The New Vision Sax Ensemble does Bill Holcombe's arrangement of "Selections From Porgy And Bess," which begins with a bit of "Catfish Row" and also includes a wonderful, beautiful rendition of "Summertime." Interestingly, this group also does Bill Holcombe's arrangement of Scott Joplin's music for saxophone quartet, titled "Scott Joplin Portrait." My first taste of Scott Joplin came with a cassette of the soundtrack for The Sting, and touches of much of that music are contained in this track. I was shocked at just how great this track is. Don't get me wrong, I love Scott Joplin, but I wasn't thinking a rendition without piano would work quite this well. But these guys do a tremendous job with the material, and this ended up being my favorite track.
It's funny. I had just been talking with my girlfriend about "My Favorite Things." She was in the middle of watching The Sound Of Music, a movie I've never been able to sit through, and I told her how I just really don't like much of the music I've heard from that film, and picked "My Favorite Things" as a prime example. I just can't stand that song, but mainly because of the lyrics, which I think are among the worst ever written. I told her the only versions of the song I like are instrumental jazz renditions, and there certainly are plenty of those to choose from. Moments later, I popped in this CD for the first time, and of course it contains yet another rendition of this song. But hey, no lyrics, so it's enjoyable (though it's still difficult for me to keep those lines out of my head when listening to an instrumental version).
They follow that with another song from a musical, this time from West Side Story, a film I did manage to get through, but mainly because of my love of Shakespeare. From this musical, they selected "I Feel Pretty," which is a goofy, playful choice, to be sure. But it's kind of delightful. These guys are clearly having fun with it, and I found myself smiling while listening to this rendition. They end the album with a moving rendition of "Amazing Grace." Maybe I'm mad, but at a few moments the saxophones sound very much like bagpipes to me. This track is another of the disc's highlights.
Won't You Come Home, Bill Bailey
Selections From Porgy And Bess
Scott Joplin Portrait
Musical Journey Through Time is scheduled to be released on June 12, 2017.
Posted by Michael Doherty at 1:53 AM No comments:
Willie Nile: "Positively Bob: Willie Nile Sings Bob Dylan" (2017) CD Review
On Willie Nile's new CD, Positively Bob: Willie Nile Sings Bob Dylan, he pays tribute to one of the world's best and most prolific songwriters. The song choices are largely from the greatest hits realm (in fact, half of these songs are on Bob Dylan's first Greatest Hits record). While there aren't many surprises as far as song selection goes, the choice of material is only part of it. The main thing is the delivery, and Willie Nile nails it every time. There is something Dylanesque about Willie Nile's style anyway, and so perhaps it's no surprise that he does such a fantastic job with these songs. What's maybe more remarkable is that these songs somehow never get old or lose their power or meaning. Most of these tracks are from the 1960s (the album's title is a nod to another 1960s Dylan song, "Positively 4th Street"), and yet they still feel fresh. Obviously, that is due in part to Willie Nile's delivery. His passion for the music comes across in every track, making this one of the best Dylan tributes ever recorded.
Willie Nile opens the album with one of Bob Dylan's most famous and covered songs, "The Times They Are A-Changin'," giving us a fun, upbeat, rockin' rendition. How is it that this song hasn't aged? Perhaps it's because we are once again in a seriously screwed up state, and here we were, thinking the times were changing for the better. Weren't they? It seemed so, at least for a while. And then suddenly, bam, we hit a wall that pushed us backward by several decades. This song feels vibrant again, especially with the energy Willie Nile puts behind it. This is an excellent and needed version, a song to bring us together and maybe get us in motion to fix this bloody mess. It's followed by "Rainy Day Women #12 & 35," a favorite of mine when I was in my mid-teens, listening to that Greatest Hits cassette over and over, and still a great tune. Willie Nile gives it a steady rhythm during the verses. It has a bright, happy feel, including the repetition of "But I would not feel so all alone." Ah, thanks for that.
Willie Nile's version of "Blowin' In The Wind" has a very different feel from its original, with almost a punk energy. This song too is once again pertinent (maybe it never stopped being relevant), with lines like "Yes, and how many times must the cannonballs fly/Before they are forever banned?" Of course, the line that always stands out for me is "How many deaths will it take 'til he knows that too many people have died?" Seriously. The current administration believes the answer to the gun problem is more guns. So the real answer is going to blow around a bit longer before we grasp it and put it into action. I have to say I completely fucking love this rendition. It has vitality and integrity, and should give some younger folks an appreciation for this song. Then Nile's version of "A Hard Rain's A-Gonna Fall" retains some of the folk feel of the original, but still with an energy and a positive, joyous feel. I certainly believe Willie when he sings those lines of what he's seen and heard; his voice has that experience. Don't be surprised if you find yourself singing along with the chorus, shouting out the lines. It's like Willie's delivery invites your participation, even makes you feel like you are participating anyway. We are all in this together, he seems to be saying, in this emotionally involving rendition. "And I'll tell it and think it and speak it and breathe it/And reflect it from the mountain so all souls can see it." Wow, wow, wow. Is this the best version of this song? I don't know, but it's certainly up there.
He delivers a sweet take on "I Want You." That first time he sings, "Honey, I want you," it's such an honest and plain statement that it ends up being very moving. And then Willie Nile's version of "Subterranean Homesick Blues" had me dancing around in my tiny apartment. Sure, the Weathermen no longer exist, but this song is largely still relevant, and a whole lot of fun. The first time I listened to this disc, I ended up playing this song many times because I felt so bloody good moving around to it. And "Don't follow leaders, watch the parking meters" is still the best advice ever offered in a song.
Bringing It All Back Home is one of my favorite Bob Dylan records. That's the one that has "Subterranean Homesick Blues." It also contains the song that Nile chooses to follow that one, "Love Minus Zero/No Limit." I've always loved this song's opening lines: "My love, she speaks like silence/Without ideals or violence/She doesn't have to say she's faithful/Yet she's true like ice, like fire." And this is a line I try to put into practice when I'm upset (but usually fail): "She knows too much to argue or to judge." That's followed by "Every Grain Of Sand," an excellent song from Dylan's 1981 record Shot Of Love (yes, during his "born again" period). Willie Nile gives us an incredibly moving and heartfelt rendition. For those who might be unfamiliar with this one, here is a taste of the lyrics: "Don't have the inclination to look back on any mistake/Like Cain, I now behold this chain of events that I must break/In the fury of the moment I can see the master's hand/In every leaf that trembles, in every grain of sand."
I've heard The Byrds' rendition of "You Ain't Goin' Nowhere" many more times than Dylan's, and in fact The Byrds released their version first. On this CD, Willie Nile provides a good, lighthearted folk-rock version, singing, "Pick up your money and pack up your tent," getting it right, unlike The Byrds, who switched "pick" and "pack" (I do still love that Byrds version, however). Toward the end, there is a sweet section delivered a cappella. The song then turns into a good jam at end, and I wish it went on a bit longer. Willie Nile then ends the CD with what is probably its least well-known song, "Abandoned Love," a song released on Biograph in 1985, but recorded a decade earlier. It has been covered several times, and the version I am most familiar with is that by The Everly Brothers, off their wonderful Born Yesterday album (seriously, I love that album). And like every other song on this CD, Willie Nile does a great job with it. "Everybody's wearing a disguise/To hide what they've got left behind their eyes/But me, I can't cover what I am." There is a humor to this song, and one line that always amuses me is, "But my heart is telling me I love you, but you're strange."
The Times They Are A-Changin'
Rainy Day Women #12 & 35
A Hard Rain's A-Gonna Fall
Abandoned Love
Positively Bob: Willie Nile Sings Bob Dylan is scheduled to be released on June 23, 2017 on River House Records.
Photos From Day Two of the Simi Valley Cajun And Blues Music Festival
I had a wonderful time this weekend at the Simi Valley Cajun & Blues Music Festival. I took a lot of photos. I posted some in the two reviews (one for each day), and also posted a separate blog entry of photos from the first day. Well, here are some more photos from the second day. I hope you enjoy them.
Mitch Ryder & The Detroit Wheels
"Little Latin Lupe Lu"
"Shake A Tail Feather"
"Try A Little Tenderness"
"Diga Diga Do"
"The Jitters"
"Jumpin' Jack"
Jo-El Sonnier
Dance lesson in front of Cajun stage, around 1 p.m.
Must have been warm inside that costume
The crowd between the two stages
The view from the front of the blues stage
Notes from the 2017 Simi Valley Cajun & Blues Music Festival, Day Two
Mitch Ryder And The Detroit Wheels
Sunday was the second and final day of the Simi Valley Cajun & Blues Music Festival, and its lineup featured Mitch Ryder & The Detroit Wheels and Big Bad Voodoo Daddy, two bands I was particularly excited to see. I got there a bit later on Sunday than I had on Saturday, and so missed Alex Nester. I heard from several people that she did a really good set, so I'll try to catch her at some point. I did see her backstage in her unusual outfit made of neckties, which I have to admit was pretty damn cool. When I arrived, both stages were between acts. A dance lesson was going on in front of the Cajun stage.
After a little while, I could hear from there that music was starting up again at the blues stage, so I headed over there to catch The 44's, a four-piece band providing some good, solid blues featuring harmonica. I enjoyed their blues jams. First band of the day for me, and first beer. And second. Things felt more relaxed Sunday than they had on Saturday, and I was definitely digging the vibe of the day. The MC was having fun, telling The 44's they'll be sued if they don't return to the festival in the next couple of years. And I learned that all proceeds from this festival go to charities benefiting the local area. You can check out the festival's website for a list of those charities. Also, the staff is made of volunteers. Pretty cool.
The MC got back on stage to ask the crowd if anyone had a tambourine that Mitch Ryder could use. He was in need of one. And soon the current version of the Detroit Wheels came out on stage, establishing a groove before Mitch Ryder came out with his new tambourine. After the first song ("Little Latin Lupe Lu"), he told the crowd that it was an honor and a pleasure to play for them, and it felt genuine and heartfelt rather than routine stage banter. He didn't have a set list in front of him on stage, so he asked the other band members what was next. They told him it was "Liberty," and Mitch Ryder mentioned that he'd recorded this song with Booker T & The MGs. After that song, a set list was brought up on stage for him. "I'll continue to do this as long as I can," he told the crowd before then going into "Jenny Take A Ride." That was followed by a cover of "All Along The Watchtower." And that was followed by a more surprising cover, with Mitch even saying "This next song is a curiosity for me" during its introduction, that being "Many Rivers To Cross." It was an interesting rendition, certainly much more in the blues realm than Jimmy Cliff's original version, and featuring a passionate vocal delivery by Mitch Ryder. After "Dear Lord, Won't You Help This Child," Mitch mentioned that he's being inducted into the Rhythm And Blues Hall of Fame. He then mentioned putting negative energy into music, and the band launched into "Long Neck Goose."
Mitch Ryder changed the pace for "If You Need The Pain," which began gently on keys. This is one I wasn't familiar with, and I really enjoyed it. Mitch then switched gears again for "Betty's Too Tight," which had a harder vibe. "Betty's too tight/But she looks all right/When she's walking down that hallway." That was followed by "Shake A Tail Feather" and then by "Try A Little Tenderness." For "Tenderness," there was no guitar, just vocals, keys, bass and drums. The band then played what is probably its most famous tune, the medley of "Devil With A Blue Dress/Good Golly Miss Molly." Mitch left the stage, while the band jammed out the end of the song. When he returned to the stage for the encore, he told the audience he appreciated the standing ovation, and again his words seemed genuine. He came across as humble and kind, and that made me like him all the more. He then did a cool blues rendition of Bob Dylan's "From A Buick 6," with some nice stuff on keys, to close out his set.
Mitch Ryder put on a great show (certainly a highlight of the weekend), and after his set I had a chance to meet him and get a photo. I then stayed at the blues stage because next up was Big Bad Voodoo Daddy. They delivered what was probably the most fun set of the festival, getting things off to great, swinging start with "Diga Diga Do," and following it with a ridiculously fun instrumental number called "The Jitters," which included a short drum solo. Lead singer Scotty Morris introduced "Simple Songs" by saying he wrote it an effort to get his daughter to dance. It also worked to get some of the audience dancing, and got me feeling pretty damn good. There was some delightful stuff on keys. They followed that with one of their most well-known tunes, "Mr. Pinstripe Suit," a song that reminds me a lot of The Cherry Poppin' Daddies, a band I used to see all the time when I lived in Oregon. This band has that same great energy and also an excellent horn section. They got the audience singing along with "Hey Now" after a bit of encouragement from Scotty Morris, and followed that with "Reefer Man," which started with a great rhythm and featured some fun back and forth between the trumpet and saxophone, plus some wonderful work on trombone. They then did a very cool rendition of "Minnie The Moocher," a highlight of their set. "Jumpin' Jack" got the audience dancing, including a woman with what looked like a giant dog puppet. This song includes a nod to "It Don't Mean A Thing (If It Ain't Got That Swing)" and a bit of scat toward the end, and it led straight into "I Wanna Be Like You." I also thoroughly enjoyed "You Know You Wrong," with the line, "I don't want to fight, but you ain't ever right," and that song went straight into "Big Time Operator," followed by "Zig Zaggity Woop Woop," another of the set's highlights. That tune had plenty of great stuff from the horn players, and ended with a drum solo. "You And Me And The Bottle Makes 3 Tonight (Baby)" features the line "I don't think another drink's gonna make me lose my mind." Hey, only one way to find out. The band then got jazzy with "Mambo Swing," which led straight into "Go Daddy-O" to end the set. They quickly came back for an encore of "So Long – Farewell – Goodbye," with many members of the band taking turns singing lead (and with a brief instrumental bit of "Sweet Home Alabama" near the end). It was a fantastic set.
After another beer, I made my way over to the Cajun stage (because my memory from last year is that the beer at the Cajun stage isn't as good) to catch Jo-El Sonnier, who closed out the festival with a fun set of tunes. There were plenty of folks dancing in front of the stage, and in fact there was a dance floor set up for them (there was a dance floor at the blues stage, too, but it was pretty far off stage right). I loved the way the fiddle and accordion worked together. Jo-El Sonnier and his band covered "Johnny B. Goode" in tribute to Chuck Berry. And soon after that, Doug Kershaw and Michael Doucet joined the band on fiddle (so there were three fiddle players!), and things got even more energetic and fun. Doug asked, "What are we doing?" Jo-El answered, "Jambalaya." Doug replied, "No." But yes, they did a wonderful rendition of that beloved song. The rest of the set was great, and the encore was a rock and roll number called "Sugar Bee." It was a delicious ending to a great day of music.
Here are some photos from the second day:
The Simi Valley Cajun & Blues Music Festival is an annual event, and is located at 5005 Los Angeles Ave. in Simi Valley, California.
Photos From Day One of the Simi Valley Cajun And Blues Music Festival
I took a ridiculous amount of photos this weekend at the Simi Valley Cajun & Blues Music Festival. Some of the photos from the first day I included in my review, Notes from the 2017 Simi Valley Cajun & Blues Music Festival, Day One. I thought I'd share a few more with you.
Kelly's Lot
Dwayne Dopsie And The Zydeco Hellraisers
The New Vision Sax Ensemble: "Musical Journey Thro...
Willie Nile: "Positively Bob: Willie Nile Sings Bo...
Photos From Day Two of the Simi Valley Cajun And B...
Notes from the 2017 Simi Valley Cajun & Blues Musi...
Photos From Day One of the Simi Valley Cajun And B...
Mark Winkler: "The Company I Keep" (2017) CD Review
John Weeks Band: "Dark Angel" (2016) CD Review
Greg Lake: "Greg Lake/Manoeuvres" (2016) CD Review
Kwame Binea Shakedown: "Roots Rock N Universal Lov...
Paul Kelly & Charlie Owen at The Hotel Café, 5-19-...
Cowbell: "Haunted Heart" (2017) CD Review
Calabria Foti: "In The Still Of The Night" (2017) ...
Chris Price: "Stop Talking" (2017) CD Review
Blackfoot Gypsies: "To The Top" (2017) CD Review
Lighthouse Sweden: "Silence In The City" (2017) CD...
Eric Sommer: "Brooklyn Bolero" (2016) CD Review
Kelley Ryan: "Telescope" (2017) CD Review
John McNamara: "Rollin' With It" (2017) CD Review
Laura Tate: "Let's Just Be Real" (2017) CD Review
Sari Schorr: "A Force Of Nature" (2016) CD Review
Not You: "Misty" (2017) CD Review
The Art Pepper Quartet: "The Art Pepper Quartet" (...
Shinyribs: "I Got Your Medicine" (2017) CD Review
May 2017 Concert Calendar


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La cronologia del Big Bang è la storia, in parte ipotetica, dei primi istanti di vita dell'Universo, che vanno dalla singolarità all'inizio del tempo, visto dalla nostra cornice temporale circa 13,7 miliardi di anni fa, alla formazione dei primi atomi, avvenuta circa 200 secondi dopo il Big Bang.

Le principali teorie fisiche che spiegano l'inizio dell'Universo sono l'inflazione e le teorie GUT ("di grande unificazione").

Descrizione

Il modello inflazionario
La teoria dell'inflazione ipotizza una rapida ma drastica accelerazione dell'espansione dello spazio pochi istanti dopo la singolarità all'inizio dell'Universo. Questa rapida accelerazione portò il tessuto spaziale ad espandersi da dimensioni miliardi di volte più piccole di quelle di un protone ad una dimensione posta a metà fra una biglia ed un pallone da calcio. Secondo le teorie GUT, l'inflazione potrebbe essere stata causata da una forma di campo di Higgs particolare detta "inflatone". Poco dopo l'inizio dell'Universo, l'inflatone, a causa delle temperature estremamente elevate, oscillava sul potenziale a sombrero (la forma caratteristica dei campi di Higgs) prima di stabilirsi in un punto del campo a bassa energia. L'oscillazione dell'inflatone portò ad una breve ma intensa espansione dello spazio, liberando una quantità di radiazione uniforme (se si escludono le fluttuazioni quantistiche) che portò alla formazione di tutta la materia. Dopo l'espansione, il campo dell'inflatone, con l'abbassarsi della temperatura, si stabilì in un punto a bassa energia.

La rottura della simmetria CP e SUSY
La radiazione liberata dall'inflazione diede origine a coppie particella-antiparticella, che si annichilarono nuovamente in radiazione. Se, in questo modo, la materia si può formare per poi annichilarsi istantaneamente, cosa portò alla rottura della simmetria CP, tanto evidente nell'Universo attuale? (o meglio, perché nell'Universo attuale si trova più materia rispetto all'antimateria?). Il modello inflazionario classico spiega questo fenomeno come causato da fluttuazioni quantistiche nell'inflatone, che originarono un leggero eccesso di materia rispetto all'antimateria, oppure come causato da particelle supermassive ipotetiche, ossia i "bosoni X" ed i "bosoni Y". Decadendo, queste particelle diedero origine ad un leggero eccesso di particelle rispetto alle antiparticelle (tale fenomeno è presente anche nei mesoni "K", che violano la simmetria CP).Nei primi istanti dopo l'inizio dell'Universo si ebbe anche una rottura della simmetria SUSY (la supersimmetria, ipotizzata nel contesto delle teorie delle superstringhe), causata probabilmente da fluttuazioni quantistiche.

La separazione delle forze fondamentali
La differenziazione delle quattro interazioni fondamentali avvenuta all'inizio dell'Universo è dovuta secondo le teorie GUT alle oscillazioni di diverse forme di campi di Higgs. Con le alte temperature i bosoni di Higgs oscillavano sul potenziale a sombrero prima di stabilirsi su un punto energetico fisso. La separazione della gravità dall'insieme delle altre forze più intense, che prende il nome di "forza unificata", avvenne con un meccanismo non ancora ipotizzato. La separazione della forza forte dalla forza elettrodebole avvenne a causa di oscillazioni di un campo di Higgs particolare, il campo di Higgs forte, contemporaneamente all'inflazione. La separazione fra la forza debole e quella elettromagnetica, infine, fu causata dall'oscillazione del campo di Higgs elettrodebole, responsabile della massa delle particelle. I valori di temperatura ai quali si è verificata la separazione di ciascuna interazione sono 1027 kelvin (10 seguito da 27 zeri, pari ad un miliardo di miliardi di miliardi di gradi Celsius) per la forza forte e 10.000.000.000.000.000 kelvin (pari a dieci milioni di miliardi di gradi Celsius) per l'interazione elettrodebole. Con il drastico calo delle temperature che accompagnava l'espansione dell'Universo, le forze fondamentali, o, più precisamente, i rispettivi campi di Higgs, si "congelarono" rimanendo immutate fino all'Universo attuale.

Le ere dell'Universo
I cosmologi hanno suddiviso la "storia" dell'Universo in 9 ere, che variano da poche frazioni di secondo a miliardi di anni. Ciascuna di queste ere è caratterizzata da un avvenimento particolare - che può essere la separazione di una forza fondamentale dalle altre, oppure la formazione dei primi nuclei.

Era di Planck

È la fase iniziale di vita dell'universo, la cui durata incredibilmente breve è quella del tempo di Planck (10−43 secondi). Nessuna delle attuali teorie fisiche può descrivere correttamente cosa sia accaduto nell'era di Planck e diverse teorie forniscono diverse previsioni. In questa era le quattro forze fondamentali – elettromagnetica, nucleare debole, nucleare forte e gravità – hanno la stessa intensità e sono forse unificate in una sola forza fondamentale.

La teoria della relatività generale prevede che l'universo abbia avuto inizio con una singolarità gravitazionale, una condizione fisica ideale in cui tutto l'universo è contenuto in un punto (in senso matematico, cioè privo di dimensioni) caratterizzato da valori infiniti di temperatura e densità. I parametri che descrivono le proprietà fisiche associate a questo punto iniziale dello spaziotempo presentano una singolarità matematica. In tutte le applicazioni della matematica a problemi fisici il verificarsi di una singolarità identifica regioni del dominio in cui la teoria fisica perde di validità per il presentarsi di fenomeni aggiuntivi non più trascurabili; in questo caso, come detto sopra, i fenomeni gravitazionali sono alterati dagli effetti quantistici. I fisici sperano che le teorie della gravità quantistica, come la teoria delle stringhe e la gravità quantistica a loop portino ad una migliore comprensione di questa fase.

Era di grande unificazione
Diametro dell'Universo: 10-33 cm
Temperatura: 1030 K
Tempo dopo il Big Bang: 1 decimiliardesimo di miliardesimo di yoctosecondo (10-43 secondi)

Durante questa era pre-inflazionaria, iniziata 1 decimiliardesimo di miliardesimo di yoctosecondo (pari a 10−43 secondi, ossia 0,0000000000000000000000000000000000000000001 secondi) dopo il Big Bang, le forze fondamentali, eccetto la gravità, erano ancora unite in una sola "superforza" costituita dalla forza elettromagnetica e dalle forze nucleari debole e forte.

Era dell'inflazione

Diametro dell'Universo: 10-26 metri
Temperatura: 1027 K, pari ad un miliardo di miliardi di miliardi di °C
Tempo dopo il Big Bang: 1 centimiliardesimo di yoctosecondo (10-35 secondi)

Nell'era dell'inflazione, le oscillazioni dell'inflatone diedero origine ad una rapida ma drastica espansione dell'Universo. L'energia sotto forma di radiazione liberata da questo particolare campo di Higgs diede origine a coppie particella-antiparticella, che si annichilirono istantaneamente. Una fluttuazione quantistica, tuttavia, potrebbe aver portato ad un leggero eccesso di particelle rispetto alle antiparticelle, eccesso responsabile della materia presente nell'Universo attuale.

Era elettrodebole
Diametro dell'Universo: 10 metri (l'Universo è diventato enormemente più grande a causa dell'inflazione)
Temperatura: 1027 K, pari ad un miliardo di miliardi di miliardi di °C
Tempo dopo il Big Bang: un centimilionesimo di yoctosecondo (10-32 secondi)

In quest'era, il campo di Higgs forte aveva già separato l'interazione forte da quella elettrodebole, determinando la formazione di gluoni e di coppie quark-antiquark dalla radiazione liberatasi in seguito all'inflazione. Si ipotizza che i bosoni X e Y (se mai sono esistiti) siano comparsi in questa era.

Fine dell'era elettrodebole
Diametro dell'Universo: 1012 metri (un miliardo di chilometri)
Temperatura: 1015 K (pari ad un milione di miliardi di gradi Celsius)
Tempo dopo il Big Bang: 1 nanosecondo, ossia 10-9 secondi (un miliardesimo di secondo)

L'era elettrodebole durò circa 10−27 secondi. La sua fine fu caratterizzata dalla separazione della forza elettrodebole in interazione debole ed elettromagnetica, fenomeno determinato dalle oscillazioni del campo di Higgs elettrodebole. A tale separazione conseguì l'assunzione di massa dei bosoni deboli, dei quark e dei leptoni.

Era degli adroni
Diametro dell'Universo: 100 miliardi di chilometri
Temperatura: 1013 K (pari a circa 10.000 miliardi di gradi Celsius)
Tempo dopo il Big Bang: 1 microsecondo (10-6 secondi, un milionesimo di secondo)

Durante l'era degli adroni, l'energia termica divenne sufficientemente bassa da consentire l'interazione fra quark mediante la forza forte (l'interazione forte, così come le altre interazioni, ha una caratteristica particolare: cala di intensità con l'aumento dell'energia). I quark e gli antiquark si legarono così a formare i primi adroni.

Era dei leptoni
Diametro dell'universo: ?
Temperatura: 1012 K
Tempo dopo il Big Bang: 10-4 secondi dal Big-Bang

Arrivati a questo punto della storia dell'universo la temperatura è di circa 1000 miliardi di gradi.
1 secondo dopo il Big-Bang: la temperatura è di 10 miliardi di gradi Celsius.
100 secondi dopo il Big-Bang: la temperatura è di 1 miliardo di gradi.

Era della nucleosintesi

Diametro dell'Universo: più di 1000 miliardi di chilometri
Temperatura: 1010 kelvin
Tempo dopo il Big Bang: 100 secondi

In quest'era, la maggior parte dei neutroni decaddero in protoni. L'energia si abbassò tanto da permettere ai nucleoni di legarsi attraverso pioni formando così i primi nuclei di elio-4 e di deuterio.

Era dell'opacità
Diametro dell'Universo: fra 10 e 10.000 anni luce
Temperatura: 108 kelvin
Tempo dopo il Big Bang: 200 secondi.

In quest'era, l'energia calò abbastanza da permettere la manifestazione dell'interazione elettromagnetica. Le particelle cariche interagivano fra loro e con i fotoni rimasti dall'inflazione e dall'annichilazione delle coppie particella-antiparticella. In quest'era si ebbe la formazione dei primi atomi, soprattutto di idrogeno, elio, litio ed isotopi dell'idrogeno. Alla fine dell'era dell'opacità, la temperatura calò abbastanza da ridurre la produzione di coppie quark-antiquark o leptone-antileptone di generazioni massicce (vedi Modello Standard).

Era della materia
Diametro dell'Universo: 100 milioni di anni luce
Temperatura: 3000 kelvin
Tempo dopo il Big Bang: 300 000 anni

Nell'era della materia, i fotoni rimasti dall'era dell'inflazione si diffusero in tutto l'Universo, formando la radiazione cosmica di fondo presente anche nell'Universo attuale. L'intera materia era per lo più costituita da atomi e da leptoni di prima generazione. Tutte le particelle massive che, con le alte temperature, continuamente si formavano a coppie particella-antiparticella dalla radiazione erano già decadute in particelle leggere di prima generazione, quali elettroni e neutrini e, fra gli adroni, neutroni e protoni. L'era della materia perdura ancora da circa 13,7 miliardi di anni.

La formazione delle prime stelle
Le irregolarità nella distribuzione della materia da parte dell'inflazione furono causate da fluttuazioni quantistiche in questo particolare campo di Higgs. Verso l'inizio dell'era della materia, le irregolarità si manifestavano soprattutto in zone di materia più condensate rispetto ad altre. La forza gravitazionale agì su queste irregolarità formando agglomerati di materia sempre maggiori: ciò portò alla formazione delle prime stelle, 200 milioni di anni dopo il Big Bang, e delle prime galassie attive (per lo più quasar). Gli astrofisici ipotizzano che le prime stelle formatesi nell'Universo fossero ben più massicce di quelle attuali. I processi di fusione nucleare innescatisi nel nucleo di queste stelle portarono alla formazione di elementi pesanti come l'ossigeno, il carbonio, il neon, il ferro e l'azoto, che si diffusero nello spazio interstellare in seguito alle esplosioni delle stelle in supernovae, con la conseguente formazione di buchi neri. Con la loro esplosione, le stelle massicce formatesi 200 milioni di anni dopo il Big Bang, dette "megastelle" diedero origine ad una radiazione elettromagnetica particolarmente intensa, responsabile, probabilmente, della ionizzazione degli atomi di idrogeno che si riscontra fra gli ammassi di galassie nell'Universo attuale.

L'accelerazione dell'energia oscura

Circa 7 miliardi di anni dopo il Big Bang, l'Universo, che stava rallentando la sua espansione a causa della forza gravitazionale (come mostrato nella Figura precedente), subì un'accelerazione nella sua espansione, tuttora rilevabile nell'Universo attuale.  Questa accelerazione potrebbe essere stata causata dall'energia oscura, la forza lambda anti-gravitazionale.  Questa porterà probabilmente l'Universo a terminare in un Big Rip o Big Freeze.

Note

Bibliografia
 Brian Greene, La trama del cosmo, Torino, Einaudi, 2004, ISBN 88-06-16962-9
 Michio Kaku, Mondi paralleli. Un viaggio attraverso la creazione, le dimensioni superiori e il futuro del cosmo, Torino, Ed.Codice, 2006, ISBN 88-7578-054-4

Voci correlate
Big Bang
Bosoni X e Y
Campo di Higgs
Decade cosmologica
Energia oscura
GUT
Inflazione (cosmologia)
Storia dell'universo
Universo

Astrofisica
Cosmologia
Big Bang

redpajama_set_name: RedPajamaWikipedia


text:
for the new version in idriller<br/>
@dayutianfei

redpajama_set_name: RedPajamaGithub


text:
Der Inkatriel, auch Perutriel genannt, (Burhinus superciliaris) ist eine überwiegend dämmerungs- und nachtaktive Art aus der Familie der Triele.

Der Vogel kommt entlang der Pazifischen Küste in Ecuador und Peru vor, ferner gibt es einen Einzelnachweis aus Chile.

Der Lebensraum umfasst tropisches oder subtropisches trockenes, offenes Acker- und Grasland, auch dichter buschbestandene Areale in den Andenausläufern. Die Art ist Standvogel.

Der Artzusatz kommt von .

Merkmale
Diese Art ist 38–43 cm groß und wiegt um die 480 g. Es handelt sich um einen ziemlich großen Triel mit langem Hals und langen Beinen. Er ist kleiner und grauer als der Dominikanertriel (Burhinus bistriatus), der auch einen weißen Überaugenstreif mit schwarzer oberer Begrenzung aufweist, auch ist der Schnabel zierlicher mit blasser gelblich-grüner Basis, die Oberseite ist weniger deutlich gestreift. Im Fluge sieht man deutlich abgesetzt ungestreifte graue Flügeldecken. Jungvögel sind auf der Oberseite dunkler braun mit gelbbraunen Rändern.

Diese Art ist monotypisch.

Stimme
Der Vogel ruft hauptsächlich in der Dämmerung und nachts. Der Werberuf wird als laute Folge von "kak kak", der Alarmruf als kurze Serien von "ka-ka-ka-ka" beschrieben.

Lebensweise
Die Nahrung ist nicht bekannt, besteht vermutlich jedoch auch aus Insekten. Über das Brutverhalten liegen keine gesicherten Erkenntnisse vor.

Gefährdungssituation
Der Bestand gilt als nicht gefährdet (Least Concern).

Literatur
 J. Tschudi: Oedicnemus superciliaris. In: Archiv für Naturgeschichte, Bd. 9, 1843, S. 387, Biodiversity Library

Weblinks

 Birdlife
 eBird
 Xeno-canto
 Peruaves
 Oiseaux.net
 Macaulay Library Multimedia

Einzelnachweise

Regenpfeiferartige


Network LED Dimmer from Opto 22 Learn about Opto 22's new LED Dimmer Switch: a solid-state dimmer you can put on your serial network.
This whitepaper discusses ways to facilitate the adoption of information technologies in order to enable a more productive indoor environment.
Doxel AI construction systems take a holistic view of every project, tying together existing tools in AI, robotics and LIDAR imaging.


text:
Financial Facelift
Responsible savers wonder if they'll have enough money to sustain their lifestyle in retirement
Dianne Maley
Published April 6, 2018 Updated April 6, 2018
Rolly and Dawn wonder how much they can spend without running out of savings.
Jeff Bassett/Globe and Mail
Despite their substantial savings, Rolly and Dawn wonder whether the income from their investments, plus government benefits, will be enough to sustain their lifestyle for the next 30 years. He is 60 and recently retired, she is 58 and working part time for $25,000 a year. Neither has a company pension plan.
"We have both toiled throughout our entire working lives and have been pretty good savers," Dawn writes in an e-mail. They raised two children who are well established in their respective careers. Dawn plans to work a couple more years because she's "not quite ready to give up my connection to my clients."
They wonder how much they can spend without running out of savings. "We have saved all our lives to get to this point, but is it enough?" Dawn asks. They are concerned, too, about the safety of their investments and having enough money on hand for unexpected health-care costs in future.
Rolly wonders if he should begin drawing reduced Canada Pension Plan benefits now that his employment insurance has expired.
We asked Tom Feigs, a certified financial planner at Money Coaches Canada, to look at Rolly and Dawn's situation.
What the expert says
In preparing his estimate, Mr. Feigs makes a number of assumptions, including that Dawn works part-time for another two years, retiring in 2020. He assumes a rate of return on investments of 5 per cent a year after fees, which gradually goes down as they grow older and shift to more conservative investments. He assumes an inflation rate of 2 per cent a year, home-price appreciation in line with inflation and that both live to the age of 95.
First off, Rolly and Dawn should immediately move funds from their savings accounts to their tax-free savings accounts to take advantage of their unused contribution room, Mr. Feigs says. TFSA funds can be invested for the long term just like an RRSP. "Continue to move funds from non-registered savings to TFSAs each year to build up investment growth that is not taxed."
He suggests they begin drawing CPP benefits at 65. "As long as each of you lives beyond age 74, your total CPP benefit starting at age 65 will catch up and be higher than if you had taken reduced CPP starting at age 60."
Rolly and Dawn's investments are currently distributed among four firms. "This is the time to consider the investment service desired, how much is reasonable to spend on investment fees, and how you are going to monitor investment performance," Mr. Feigs says. "I recommend a consolidation to one or two service providers with all-in investment fees no more than 1 per cent of assets under management each year," he adds. "Consolidation also makes it easier to monitor your overall investment performance, which is the key to ensuring you remain on track."
With savings of $1.6-million, Rolly and Dawn can retire as planned without having to sell their house and downsize, Mr. Feigs concludes. He ran a number of scenarios, one in which they spend a constant $81,800 a year. That would provide the surviving spouse with an income of $60,000 a year and leave their home to the estate.
In this forecast, "The home is not sold unless it is necessary to liquidate and move permanently into assisted living," Mr. Feigs says. Then the remainder of their equity would be left to their estate.
Their income starting this year would come from her part-time salary ($25,000), her RRSP ($20,000), her non-registered savings ($5,850); his earnings earlier in the year ($6,000), his RRSP ($23,800) and his non-registered savings ($13,000), for a total of $93,650 before taxes and deductions. Subtracting income tax of $11,850 would leave them with $81,800 a year.
At 65, they would begin drawing CPP and OAS benefits, so the amount of money they would have to draw from their savings would drop.
Alternatively, they could spend $89,600 a year from the time they hang up their hats until Rolly is 77 and Dawn is 74. This would allow for greater travel spending in the early years of retirement. After that, their spending would drop to $70,000 a year. They would leave their home to their estate.
The picture changes if the couple wanted to leave their investment principal intact and live only on the income generated. In that case, they'd be able to spend no more than $72,000 a year, the planner says. But they'd leave an estate of $1.6-million plus their home – "a very conservative approach."
Aside from running out of money, Rolly and Dawn are worried about unexpected health-care expenses, Mr. Feigs notes. "Personal health outcomes are extremely hard to predict." He suggests they explore the pros and cons of the various types of health-care insurance compared with having a health-care contingency fund. They should consider extended health and travel insurance at the very least, he says.
In his plan, Mr. Feigs set aside $80,000 of savings for supplemental health costs not covered by health insurance, such as private home care or home adjustments for mobility.
For their RRSP investments, Mr. Feigs suggests starting with a portfolio that is 60-per-cent equities, 35-per-cent fixed income and 5-per-cent cash. The balance would tilt more toward fixed income as the years go by. For their TFSAs he recommends a more growth-oriented portfolio of 70-per-cent equities and 30-per-cent fixed income.
Client situation
The people: Rolly, 60, and Dawn, 58
The problem: They need to confirm what amount of income can be sustained throughout retirement and how to be sure they are on track.
The plan: Shift savings to TFSAs, draw government benefits at 65 and consolidate investments portfolios to save costs and make it easier to monitor performance.
The payoff: Peace of mind.
Monthly net income: $5,607
Assets: Bank $7,000; her RRSP $557,815; his RRSP $786,074; her TFSA $27,600; his TFSA $16,309; non-registered savings $201,231; residence $725,000. Total $2.32-million
Current monthly outlays: Property tax $300; condo fee $100; home insurance $80; water, sewer, hydro, heating $250; cable, Internet $100; cellphone $160; car insurance $200; extended health, vitamins $275; gasoline, parking $185; car repairs $100; groceries $800; personal grooming $15; entertainment, dining, movies, drinks $250; home repairs $50; clothing, shoes $150; gifts $175; sports/hobbies $300; charitable $40; subscription $12; travel $2,000; bank fees $15; other $50. Total: $5,607
Liabilities: Car loan $18,000 at zero interest.
Want a free financial facelift? E-mail finfacelift@gmail.com.
Some details may be changed to protect the privacy of the persons profiled.
This young saver and investor is wondering how she can achieve her many goals
Variable winds cloud early-retirement dream for thirtysomething couple
Widow looking to move back to Toronto. Should she buy or rent?
We have closed comments on this story for legal reasons or for abuse. For more information on our commenting policies and how our community-based moderation works, please read our Community Guidelines and our Terms and Conditions.

redpajama_set_name: RedPajamaCommonCrawl


UW Engineers' "outstanding research contributions" wins them recognition at Ubicomp 2018.
A team of engineers at the University of Washington have developed 3-D printed devices that can track and store their own use — without using batteries or electronics.
As a collective, our research brings us to the forefront of innovation. UW ECE's world-class resources and facilities offer the perfect platform for active collaboration. Together we're redefining possibilities in robotics, nanotechnology, electromagnetics, data science, computers and energy. Our ongoing work continues to push the boundaries of modern science and helps to direct the future of hardware and integrated systems. Our collaborations have already resulted in positive large-scale societal impact to the benefit of us all. We're confident that our work will continue to inspire new and innovative solutions to life's greatest challenges and encourage partnership and growth for years to come. To learn more, select one of the research areas above.


I mean not the original one but something cheaper which works exactly the same.
Or maybe the original if available anywhere.
Get in touch with IZHAM2009 or/and HIFISSB on ebay as they both sell ham radio I-K-Y spares.They also could look around for an equivalent part you are looking for.got my kenwood ts850 m/ch vfo/ch encoder from them.


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text:
Q: get the values of firebase firestore value I wanted to get the values of firebase firestore value but I keep on getting errors, is there a way to retrieve the values without adding a "" ?
DocumentReference documentReference = fStore.collection("Users").document(UserID);
    documentReference.addSnapshotListener(this, new EventListener<DocumentSnapshot>() {
        @Override
        public void onEvent(@Nullable DocumentSnapshot value, @Nullable FirebaseFirestoreException error) {
            assert value != null;
            mBankBalance.setText(""+ value.getDouble("Balance"));

        }
    });

the mBankBalance.setText(""+value.getDouble("Balance")) line is getting an error whenever i delete the double quotes. Is there a way to get the values only?

A: You're getting the value fine already, but you can't set a Double value to a text view.
You can most easily see this if you split the code over a few more lines:
DocumentReference documentReference = fStore.collection("Users").document(UserID);

documentReference.addSnapshotListener(this, new EventListener<DocumentSnapshot>() {
    @Override
    public void onEvent(@Nullable DocumentSnapshot value, @Nullable FirebaseFirestoreException error) {
        assert value != null;
        Double balance = value.getDouble("Balance"));
        mBankBalance.setText(balance);
    }
});

With this code, you'll an error on mBankBalance.setText(balance);, while Double balance = value.getDouble("Balance")); actually works fine.
The reason is that setText() expects a string value only, and it won't convert your Double to a string. That's what the "" +  in your original code does, and the same would work above:
mBankBalance.setText("" + balance);

If you (rightfully) don't like having an empty string like that in your code, you can also use this more explicit conversion:
mBankBalance.setText(String.valueOf(balance));

redpajama_set_name: RedPajamaStackExchange


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Josh Doctson will miss the remainder of the regular season with a wrist injury.
Josh Doctson has been one of the most effective wide receivers in college football this season. The senior has 1,327 yards receiving and 14 touchdown catches, but coach Gary Patterson announced on Wednesday that Doctson will miss the team's remaining two regular season games with a wrist injury.
TCU takes on Oklahoma this weekend, and you can bet nobody will be cheering on the sidelines more passionately than Doctson.


text:
Michelle Doege recommends "Missed Her"
very once in a while, we invite authors to share recommendations for your next great read. Today, Michelle Doege shares a favourite non-fiction collection of stories.
Ivan E. Coyote's Missed Her, published by Arsenal Pulp Press.
Missed Her—a collection of short stories—calls into question gender norms and shatters the fragile glass box of gender identity. Ivan Coyote's title of the last story in the collection, "Just a Love Story," captures a predominant theme in most all of their stories. They are love stories—the blissful and the passionate, the maddening, the heartbreaking. Ivan Coyote tells these stories with humor, transparency, and an open and generous heart.
The stories in Missed Her range from recollections of being butch in small-town Ontario, to being bedside at the death of their loving gran in the Yukon. Fully drawn into each created world of a story, I have never forgotten one in particular: "The Good Old Days." Each time I read it, I get misty-eyed. In just over three pages, Coyote manages to weave together a creative writing class of students from disparate worlds: "forty … grey haired ladies (and a few gentlemen)," one who had "transition[ed] from male to female," an "ex-military man, a boxer … a fan of facts [and] order," "a lesbian," an "Hungarian woman … who grew up during the Second World War." Coyote also manages to weave together diverging details: wrinkles, good penmanship, the history inside their skin, reading and shaking and bifocals, a full body hug, a clitoris, crackers and hunger, Nazis. And of course, Kleenex. Lots and lots of Kleenex.
What makes it a "great read"? Why do you recommend this book to readers?
Ivan Coyote's stories reach into the heart of the matter. Yes, Coyote is often searching for their place in the world, but Coyote's search becomes our own—embracing our diversities and the queerness in us all. Above all, Coyote makes human connections—between themself and their family, with the bishop who calls Coyote "young fellow" and gives them a hug, to the silver-haired woman who brings them "Babybel cheeses" and "soda crackers" to their creative writing class each week.
We need the Ivan Coyotes—the stories in Missed Her—to show us how to open to each other, to find the soft spots between us and in our own selves.
Michelle Doege is a writer of poetry and creative non-fiction, an educator, and an engaged member of any literary community she calls home. She holds an MFA in Creative Writing from Augsburg College (Minneapolis), where she studied poetry and mixed genre writing. Most recently, she was awarded "Special Commendation" for her chapbook Tonewood from the Cedric Literary Awards (2016), and her story "End of a Rainbow" was published in Caitlin Press's Wherever I Find Myself: Stories of Canadian Immigrant Women (2017). A teacher for twenty years, she has taught writing, literature, and women's & multicultural studies at colleges and universities in Canada and the U.S. In life and writing, she listens closely—to the deep truths at the center of things—vibrating just beneath and beyond all the noise.
Leah Horlick recommends "Ritual Lights"


Award winning & best shawarma in town & #1 restaurant in KW on Tripadvisor. We always thought of operating our own restaurant as we used to get lots of compliments from family, relatives & friends visiting us & having a meal at our home. It took us few gatherings till we realized that we need to start doing what we love the most. We love preparing food & creating a smile on the face of our guests who kept on encouraging us to take this step forward. From there we started developing the idea of small restaurant called Shawerma Plus that brings new concept & highest quality of food to the Mediterranean kitchen in Canada, & we built our project based on high end standards creating a unique & distinguished experience with cozy environment to all our walking in customers or ones ordering for home or office. Visit us and see for yourself !


text:
/*---------------------------------------------------------------------------*/
//       Author : hiyohiyo
//         Mail : hiyohiyo@crystalmark.info
//          Web : http://crystalmark.info/
//      License : The modified BSD license
//
//                           Copyright 2002-2005 hiyohiyo, All rights reserved.
/*---------------------------------------------------------------------------*/

#include <windows.h>
#include "msrnt.h"

int WINAPI _ReadMSR(ULONG ulECX, ULONG* ulEAX, ULONG* ulEDX)
{
	ULONG ReturnedLength;
 	BOOL IoctlResult;
	char buf[8]={0};

	IoctlResult = DeviceIoControl(
					handle,				// Handle to device
					IOCTL_READ_MSR,		// RDMSR code
					&ulECX,				// Buffer to driver
					sizeof(ulECX),		// Length of buffer in bytes.
					&buf,				// Buffer from driver.
					sizeof(buf),		// Length of buffer in bytes.
					&ReturnedLength,	// Bytes placed in outbuf.
					NULL				//
					);
	memcpy(ulEAX,buf,4);
	memcpy(ulEDX,buf+4,4);

	return IoctlResult;
}

int WINAPI _WriteMSR(ULONG ulECX, ULONG* ulEAX, ULONG* ulEDX)
{

	ULONG ReturnedLength;
 	BOOL IoctlResult;
	ULONG result;
	char buf[12];
	memcpy(buf,&ulECX,4);
	memcpy(buf+4,ulEAX,4);
	memcpy(buf+8,ulEDX,4);
/*
	char s[256];
	wsprintf(s,"%08X %08X %08X",ulECX,*ulEAX,*ulEDX);
	MessageBox(NULL,s,s,MB_OK);
*/
	IoctlResult = DeviceIoControl(
					handle,				// Handle to device
					IOCTL_WRITE_MSR,	// WRMSR code
					&buf,				// Buffer to driver
					sizeof(buf),		// Length of buffer in bytes.
					&result,			// Buffer from driver.
					sizeof(result),		// Length of buffer in bytes.
					&ReturnedLength,	// Bytes placed in outbuf.
					NULL				// NULL
					);

	return IoctlResult;
}

void WINAPI _Hlt()
{
	ULONG ReturnedLength;
 	BOOL IoctlResult;
	ULONG result;
	char buf[4];

	IoctlResult = DeviceIoControl(
					handle,				// Handle to device
					IOCTL_HLT,			// HLT code
					&buf,				// Buffer to driver
					sizeof(buf),		// Length of buffer in bytes.
					&result,			// Buffer from driver.
					sizeof(result),		// Length of buffer in bytes.
					&ReturnedLength,	// Bytes placed in outbuf.
					NULL				// NULL
					);

	return ;
}


Manhattan is a gay cafe, Restaurant and bar all rolled in to one, the bar is small but always busy and often has shows at weekends, the cafe is the terrace that runs along the outside of the building making it a great place for people watching with a coffee or beer, the restaurant is quite big and is inside, the food drink and service here is very good, and the staff are fun and friendly making this a must when in gay Cape town.
The Capital Mirage, The Cape Royale, DysArt Boutique, The Westin.
are all popular gay destinations.
Most of the gay bars and clubs in Cape Town are located in the DeWaterkant district, which is right in the heart of Cape Town, close to the popular V&A Waterfront.


Hey, we're back with some really cool merchandise to giveaway. Here's how it works: Head over to this video: Giveaway Question: Name the modder who created PlayerUnknown's Battlegrounds? What can you win? AMD T-Shirts and other cool merchandise. Rules: 1. Leave your response in the YouTube Video comments. NOT on Facebook or the Website. 2. Like the video, and Share the video on Facebook. 3. Subscribe to our channel. 4. One winner will be decided by us, and announced on 31 May 2017. 5. Be nice to others, and enjoy.
Us generous Overlords at Gaming Central want to giveaway some kickass hardware, specially to get rid of that excessive black money! Join us on Monday for the giveaway. Click here to participate in the Giveaway. Rules are simple: Answer the question asked. Giveaway starts 21 Nov 2016 and ends 28 Nov 2016. One Winner will be chosen by the Gaming Central staff. Be respectful of others. For more news and reviews, keep checking back at Gaming Central.


« APM 2017.10 is out now!
Using Arbor Portfolio Management Systems, you can easily book cross-currency trades for equities and CFDs.
A cross-currency transaction is a trade in which local and settlement currencies are different. This can be a base cross-currency trade, if the settlement or trade currency is the same as the fund's base currency. It can also be a non-base cross-currency trade, if all 3 currencies are different (for example: local currency, EUR; settlement currency, GBP; base currency, USD).
By selecting different currencies for Ccy (local) and Ccy (settlement), you will be able to introduce the necessary rates for this transaction, under 'Rates'. If the trade is a cross-currency transactions, a 'Cross FX' rate is required. If the trade is a non-base cross-currency trade, then two 'To Base FX' rates are also necessary.
On the right-hand side of Ccy (local), you will be able to introduce the desired 'To Base FX' rate – in this case, EURUSD.
You can then do the same for the 'To Base FX' rate for Ccy (settlement).
Finally, for 'Cross FX rate', you can introduce the rate for currencies in Ccy (local) and Ccy (settlement) – in this example, EURGBP.
Be aware that, to avoid P&L distortions, FX rates used in this cross-currency operation need to triangulate. If two rates are provided, Arbor is able to triangulate the third rate automatically at the time of trade entry.
If you need more information on this topic, check out our online documentation on FX Triangulation for Non-Base FX Trades.
If you need help logging in to access this document, please contact us for your log-in details.


A smile to hide the struggle and overcome the different challenges that one has to face.
but that won't stop you from living your life to the fullest.
That is why I CHOOSE to SMILE.
life has given me more than enough reasons to smile every single day.
I smile because I am grateful.


Practices begin in April, games begin in mid to late May. Season ends late June, depending upon weather and make-up schedules. Girls typically play on Monday and Wednesday evenings, boys typically play on Tues and Thursday evenings. T-ball will typically play on Saturday mornings with an occasional game during the week. All participants will receive a uniform and an end of season award. Players will need to supply their own glove; all else will be supplied. 7/8 Softball and Baseball are coach-pitch leagues. Beginning with the 9/10 league, kids will pitch. The age group in which your child plays in is based upon their age as of January 1, 2019 for girls and May 1, 2019 for boys.
T-Ball and 7/8 Baseball and Softball receive a T-Shirt and Hat/Visor.
9/10, 11/12, 13/4/15 Baseball will receive T-Shirt, Pants and Hat.
9/10 Softball will receive T-Shirt, Shorts and Visor.
11/12 and 13/14/15 Softball will receive T-Shirt, Pants and Visor.
All coaches must submit a 2019 coaching application no later than February 15, 2019.
A $15 late fee will be charged after the deadline.
as of May 1, 2019 for (Boys) and January 1, 2019 (Girls).
*The Big 4 and Tri-County Leagues consist of Gardner, Spring Hill, Wellsville, Baldwin City, Desoto and Eudora.


text:
One movie. 365 days. Every day.
This is Cinema365
Tag Archives: anti-immigrant
Posted on September 14, 2010 by carlosdev
Is this the face only a mother could love?
(20th Century Fox) Danny Trejo, Jessica Biel, Michelle Rodriguez, Jeff Fahey, Robert de Niro, Cheech Marin, Lindsay Lohan, Don Johnson, Steven Seagal, Tom Savini, Daryl Sabara, Alicia Marek, Gilbert Trejo, Cheryl Chin, Shea Whigham. Directed by Robert Rodriguez and Ethan Maniquis
Injustice requires a hero, someone to stand up and defy those who perpetrate it. However, some injustice is so grave, so reprehensible it requires more than a hero: it requires a legend.
Machete (Trejo) is a Mexican federale who is a bit of a maverick and a lone wolf. While his partner pleads with him to back off of a kidnapping case, Machete refuses. He only knows one direction – forward – and one way – the hard one. Unfortunately, this turns out to be a trap set by a drug lord named Torrez (Seagal) who butchers Machete's family. Since Machete's boss is in Torrez' pocket, his career as a federale is over.
Flash forward three years. Machete is working as a day laborer in Texas, where corrupt State Senator McLaughlin (De Niro) holds sway on a fire-eating anti-immigration platform. However, the good Senator's re-election campaign isn't going particularly well. It seems that he's made some powerful enemies, including a snake oil businessman named Booth (Fahey) who hires Machete to execute the Senator with a high-powered rifle from the state capitol in Austin. However, the whole thing turns out to be yet another set-up.
It seems that Booth is actually McLaughlin's aide. It turns out both of 'em are also in Torrez' pocket. It also turns out that a paramilitary vigilante border patrol, led by Lt. Von Stillman (Johnson) are in McLaughlin's pocket; as a matter of fact, McLaughlin went on a little ride-along with the boys and shot him some Mescans, including a pregnant woman right in the belly.
However, they've messed with the wrong Mescan, as Machete slices and dices his way through every slick-haired, black-suited henchman this quartet of baddies can throw at him. He has allies of his own, however, to aid him in the slicing and dicing; Luz (Rodriguez), a revolutionary whose Underground Railroad-like organization for illegals operates out of her taco truck; Sartana (Alba), an ambitious immigration officer who falls for Machete; Padre (Marin), a priest who packs a little bit of lead along with his crucifix and Julio (Sabara), a vato with a heart bigger than all of Mexico.
Along the way they'll run into April (Lohan), a drugged-out wannabe-model whose father wants to make her daddy's girl, Osiris Ampanpour (Savini), an Assyrian assassin with a sadistic streak and Sniper (Whigham), Booth's right hand man. The odds are stacked against Machete, but Machete doesn't care about odds, not as long as he has a razor sharp blade at his disposal.
This has all the elements of 70s blacksploitation (i.e. movies like Superfly and Shaft), Asian chop sockey (the films of the Shaw brothers and some of Bruce Lee's early stuff), spaghetti westerns and even the slasher flicks of the 80s. All of this has been filtered through Robert Rodriguez' Cuisinart of influences to create something unique and refreshing, even as it is also at once familiar.
It's no secret that this was born from a faux trailer that appeared as part of the 2007 B-movie homage Grindhouse that Rodriguez did with fellow trash movie aficionado Quentin Tarantino (it is said that another fake trailer from that movie, Thanksgiving is on the fast track for development as well). However, the real genesis for this character and this project took place back in 1994 when Rodriguez was finishing El Mariachi when Rodriguez began writing a script about a disgraced ex-federale with a penchant for blades.
This is so over-the-top that NASA has it studying planets. Every swing of Machete's weapon generates a fountain of blood and a limb, head or other body part parting rather gruesomely from the original owners. Machete also gets to use his other weapon plenty of times as nearly every woman in the movie gets a sex scene with him, all to the beat of '70s porn movie. Wackada wacka wacka boom chicka boom, baby! Of course, it's a little difficult to picture Danny Trejo, who's pushing 70 but still in awesome shape, as anything of a sex symbol. To each their own.
Still, this is the role Trejo was born to play. With his hard scowl, stringy hair, Fu Manchu moustache, angry demeanor and a slathering of tattoos, he has played murderers, rapists and thieves in countless movies over the years. Here, he is the kind of anti-hero that the audiences of the '70s embraced. There's something vicariously thrilling about sticking it to the man, y'know.
De Niro is clearly having a great time here. His character is a combination of Byron de la Beckwith, Arizona state senator Russell Pearce and Foghorn Leghorn and De Niro hams it up like he's working a middle school talent show. In fact, one gets the impression that Rodriguez told all his actors to "let her rip!" and the only instructions they received from him thereafter were "More!"
Certainly modern audiences aren't used to this much gratuitous sex and overt, bloody violence but that's okay; those of us who remember Times Square before the chain restaurants, Starbucks and tourist-friendly shopping when just walking into the area made you want to shower and then dry off with sandpaper will embrace Machete with both arms. Okay, not literally; giving Machete a hug will probably lose you the use of both your arms unless you're a naked chick with big bazoombas. And that's the way it should be.
REASONS TO GO: It's social commentary disguised as a cheesy 70s action flick wrapped in satire. The movie is so preposterous you have to love it.
REASONS TO STAY: Those who are faint of heart when it comes to sex and violence should steer clear.
FAMILY VALUES: Lots of gratuitous sex and lots of gratuitous violence to go with lots of gratuitous language. Who says they don't make 'em like this anymore?
TRIVIAL PURSUIT: After Rodriguez told Trejo about the role of Machete and the film he intended to make, Trejo called Rodriguez regularly at varying times of the day to pitch himself for the role. Finally, when an exasperated Rodriguez asked Trejo why he didn't just text him, Trejo replied "Machete don't text" and Rodriguez liked the line so much he used it in the movie.
HOME OR THEATER: Oh, home viewing for this one, definitely. Preferably with a six pack of cheap beer, a bagful of pork rinds and a taco or two.
FINAL RATING: 6/10
TOMORROW: Fifty Dead Men Walking
Posted in New Releases | Tagged 20th Century Fox, anti-immigrant, assassination, Austin, border patrol, border wall, Cheech Marin, cinema, corruption, Danny Trejo, Daryl Sabara, day laborers, Don Johnson, druglord, exploitation, federale, Films, gun battles, illegal aliens, Jeff Fahey, Jessica Biel, Lindsay Lohan, Machete, mayhem, Mexico, Michelle Rodriguez, movies, murder, priest, reviews, revolutionary, Robert De Niro, Robert Rodriguez, scowl, sex, Steven Seagal, Texas, threesome, Tom Savini, Troublemaker Studios, violence | 2 Replies
Cinema365 will no longer be updated due to Carlos' death 3/22/22
Give or Take
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Seobok: Project Clone
New Releases for the Week of March 4, 2022
Gidget Bates's Crap She Spews
Lil' Miss Movie
MeierMovies
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Thank Blog It's Friday!
The Warning Sign
Triviana
Florida Film Festival
Enzian Theater, Maitland FL
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Movies, Cinema, Films


Nathan King, powerful head of his legendary family's cattle empire, has everything -- except a woman to share his life.
Their two lives collide! Nathan wants her, but doubts she will cope with outback life. Miranda wants him, but believes her past will deny her any chance at a future with a King. The tension -- the need -- between them is overwhelming, regardless of where it might lead.


text:
Ammi-Ditana was a king of Babylon who reigned from 1683–1640s BC. He was preceded by Abi-Eshuh. Year-names survive for the first 37 years of his reign, plus fragments for a few possible additional years. His reign was a largely peaceful one; he was primarily engaged in enriching and enlarging the temples, and a few other building projects, although in his 37th regnal year he recorded having destroyed the city wall of Der, built earlier by Damiq-ilishu of Isin.

References

17th-century BC Babylonian kings
First dynasty of Babylon


Final Considerations Choosing the right solution for your needs, in this case, is highly subjective. Click finish to exit installation. Already large companies do not use the old operating systems. Oracle does not run any additional testing on Red Hat Enterprise Linux products. Up to 36 network adapters can be attached simultaneously, but only four are configurable through the graphical interface. We do not post reviews by company employees or direct competitors. Select your Virtual Machine and click Start button.
The flexibility as well as performance wise and as well as data volume, we have huge volume stored. I saw the above post and went ahead and created the copy of the vmname. You have exceeded the maximum character limit. How has it helped my organization? If you're looking for the latest VirtualBox 5. Oracle today shipped a new minor release, VirtualBox 5. The latest Recommended Patchset must be installed before you install VirtualBox.
The VirtualBox installation script checks for these packages before installing the software. Other competitors are more expensive. Just double click the icon to install it. If I don't reply again, then it worked. I copied the directory immediately and then tried creating a new machine instance in vbox.
You must resolve these dependencies before you can install VirtualBox. Site Moderator Posts: 28080 Joined: 4. Follow this guide: Open Virtualbox and click at New button. A special paravirtualized network adapter is also available, which improves network performance by eliminating the need to match a specific hardware interface, but requires special driver support in the guest. System Requirements for VirtualBox Hosts on Oracle Linux Platforms VirtualBox requires specific packages to be installed. This screen will appear when it start boot.
Network File System Oracle Solaris and Linux If the file system is a share on another host, mount it again. By downloading, you agree to the terms and conditions of the respective license. Networking and printing, for example, require no additional setup. It makes it easier to deploy service. It easily increases memory for our virtual machines. The host memory overhead is configurable.
By default, the host memory overhead is 5% of the total memory. It's a solid open-source product. There is room for improvement for automation with Hyper-V. Please also use version 5. A new window will come out. Step 26 Installation will be completed within minutes depending on the performance of your computer.
Storage Type Platform Action Local Storage Oracle Solaris and Linux If the directory used for local storage was destroyed by the operating system upgrade, recreate it and restore the content from the backup. I'm running Virtual Box 3. Step 22 Configure your region and language settings and click on the Next button. For more details, see the Oracle Technology Network article. If you use these storage types, you must upgrade all the hosts for a desktop provider in parallel. I am getting the following error the selected virtual machine is inaccessible.
The flexibility and the closed platform, so it allows you to run in multiple platforms, Windows, Linux, Macintosh. It is so easy to manage something through the virtual machine. See for an introduction to this Extension Pack. Step 23 Type your user name and click on the Next button. In fact, they were the first to virtualize the x86 architecture and make the technology available as a commercial product.
Luckily I was only using 2 Primaries already. In addition to the basic feature set, Workstation has a few of interesting capabilities that you might not find mission-critical, but are nonetheless convenient. Back at the virtual box manager interface, select your guest virtual machine such as Ubuntu 16. This will Open the VirtualBox — Settings Dialog box. Copy the Base Pack to the same folder as the vb-install script, and then run the script again.


text:
Writing NSW > On Writing > Writers On Writing > Learn to read like a writer with Emily Maguire
Writers On Writing / Learn to read like a writer with Emily Maguire
"My primary purpose for reading is still, always pleasure, and paying attention to craft is part of the enjoyment for me."
How does learning to read like a writer shape and improve one's craft?
To a reader, there's often a sense of inevitability about a finished book, whereas writers understand that every finished piece of fiction has been made up of hundreds or thousands of choices by the author and that changing any one of them might have made for a different story entirely. Learning to read as a writer means questioning why the author made this particular set of choices. How would the book be different if the author killed off that character in chapter 3 or 9 instead of 5? What if the character was an accountant instead of a hairdresser? If it was in 1st person instead of 3rd? Present tense instead of past?
Learning to read and think about books in this way helps writers gain confidence in using different techniques in their own work. It also encourages a view of writing as experimentation and discovery. That there are as many 'correct' ways to write a book as there are books can be a truly liberating and generative realisation.
How do you balance reading for 'homework' and reading for pleasure? Are you able to switch off your writer brain when reading?
My primary purpose for reading is still, always pleasure, and paying attention to craft is part of the enjoyment for me. Absolute best case scenario, though, is that something is so brilliant that I read it in a kind of fog of delight and only when I'm finished do I realise I have no idea how the writer just did that to me. It's the greatest thrill because it means I've had an incredible experience as a reader and that I have a brilliant new text from which to learn as a writer.
What books are currently on your bed side table?
I'm working my way through Olivia Laing's Everybody and greatly admiring her smooth blending of the personal, social and political. I'm also reading Kazuo Ishiguro's The Buried Giant which was recommended to me as a study in slow-burn revelation and a masterclass in unreliable narration.
Emily Maguire is the author of six novels and three non-fiction books, and an experienced teacher and mentor to young and emerging writers. Her novels have been translated into 12 languages and her articles, essays and reviews have been published widely. She is a 2010 and 2013 Sydney Morning Herald Young Novelist of the Year and was the 2018/2019 Writer-in-Residence at the Charles Perkins Centre at the University of Sydney. Her latest book is the novel Love Objects.
Join Emily's workshop, Reading Like A Writer, Saturday 28 May 2022, 10am-4pm. Enrol here >>
Topics: craft, Emily maguire, Reading, Writing


text:
Home Dental
A uncommon dental trait lives on
in Dental
A rare dental trait that is extra, not unusual in Asian and Native American populations, could have its origins in trysts with our archaic household, the Denisovans, in keeping with new research. Few human beings probably provide lots notion to the subterranean form of the grinding tooth of their lower jaw, however palaeoanthropologists appearance to the tooth – frequently the handiest surviving fossil stays of our ancient relatives – for clues to our prehistoric family tree. Recently, a lower jawbone observed in a Tibetan cave became recognized as a minimum 160,000 years vintage and belonging to a member of the group called the Denisovans. It bears a molar with three roots.
Another jawbone, determined off the coast of Taiwan and belonging to an archaic human – possibly a Denisovan – has a 3-rooted molar, too. Three-rooted molars are oddities in most current dental practices. Molars usually have simply two roots, but occasionally a third, smaller root grows. In Europe and Africa, fewer than three.5% of human beings have such teeth. But charges upwards of 40% had been located in surveys of archaeological specimens from northern China and islands in the Bering Sea that were once part of a land bridge connecting Asia and North America.
Indeed, the high frequencies of three-rooted molars in these populations is a key function that factors to the Asian origins of Native Americans. Surveys of modern-day Asian populations additionally have higher charges of the dental anomaly – as much as nearly a third in some research. When a Denisovan genome became sequenced from a scrap of bone observed in the Siberian Denisova cave, it became evident that Denisovans met and intermingled with our prehistoric ancestors. Modern-day populations throughout Asia, New Guinea, and Australia preserve snippets of Denisovan DNA in their genome.
In present-day Tibetans, one snippet inherited from Denisovans allows them to stay within the low oxygen environments of the Tibetan Plateau. The new take look, published in the journal PNAS, shows that the three-rooted molars in present-day humans additionally derive from Denisovans. "We now have obvious evidence that gene waft between archaic businesses and Homo sapiens resulted inside the switch of identifiable morphological features," the authors write. "The [three-rooted molar] is an Asian-derived man or woman that we can definitively hint to Denisovans," they are saying.
Palaeoanthropologist Tanya Smith from Griffith University, who wasn't involved in the look at, takes a greater careful view. "It is a thrilling notion," she says, but adds that "without genetic evidence, I suppose it is untimely to declare that this one fossil presents compelling morphological evidence of Denisovan admixture in Asian-derived populations." Before concluding that three-rooted molars in modern-day people got here from Denisovans, scientists first need to be sure that maximum Denisovans had this trait because the trait can conveniently pop up due to mutation by me. That's a hard task given the small variety of Denisovan molars diagnosed so far. Identifying the genes that cause the 3rd root in present-day people's molars and mapping that returned to areas of the genome inherited from Denisovans might also make the hyperlink greater air-tight, says Smith.
UCLA dental clinic shines as beacon of health and dignity