CeFaan Kim has the lates on the heroic dog who saved her family from a gas leak.
TUCKAHOE, Westchester County -- A dog from Westchester County is being hailed as a hero after she saved the lives of her family.
"The dog then ran and took the officers through several streets, and then led them back to the dog's residence into the backyard," police Lieutenant Lawrence Rotta said.
Arriving officers noticed the home's sliding glass door was open, and the fence was broken.
"She went from being in time out to being my girl," owner Serena Costello said. "It looks like she was trying to get out this window...She was determined to get out."
"This is my contraption I built so she never got out, which always worked since I been here," Costello said. "But she nestled through here and escaped through the fence."
"She is a hero," she said. "She is our hero. It's just so out of character for her to do. She saved our lives. Yeah. Emotional."
"They had to write me a summons, which they didn't want to, but I guess it's the law for having an unleashed dog in the area," Costello said. "But one of the police officers, I guess after ConEd said that (it) was a gas leak, took the summons and ripped it up."


text:
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redpajama_set_name: RedPajamaCommonCrawl


In development for "high-end" phones, a public beta is currently planned for Summer 2019.
Activision has unveiled a new Call of Duty title for the West, but it's not the one you're thinking. It's Call of Duty: Mobile, a free to play title that's "coming soon" to Android and iOS. Developed by Tencent's Timi Studio, Call of Duty: Mobile was originally available as Call of Duty: Legends of War in Australia and China.
It's now coming to North America, South America, and Europe. Maps like Nuketown and Crash can be seen in the announcement trailer, and game modes like Team Deathmatch, Search and Destroy, and Free-For-All have been confirmed. Blackout is also teased near the end, which makes sense, considering how popular the mobile platform has been for Fortnite: Battle Royale and PlayerUnknown's Battlegrounds.
Call of Duty: Mobile is being developed for "high-end" phones, but the development team is also working to make it "broadly accessible for as many other devices as well." Though a release date is still pending, you can pre-register for a chance at in-game rewards. A public beta is currently slated for this Summer. If you're not interested in mobile, don't worry – this year's next major Call of Duty is coming as well, and will apparently feature a "huge" multiplayer mode and campaign.


text:
Thursday , Apr , 01 , 2010 C.Y. Ellis Tweet
O'Neal leads Pacers over Jazz
Indianapolis, IN (Sports Network) – Jermaine O'Neal scored 27 points and
pulled down 11 rebounds to lead the Indiana Pacers over the Utah Jazz, 93-83,
at Conseco Fieldhouse.
Stephen Jackson and Austin Croshere each contributed 16 points and Sarunas
Jasikevicius chipped in with 11 points for the Pacers, who have won three of
their last four games.
Mehmet Okur had 19 points and 12 rebounds and Andrei Kirilenko contributed 11
points, 10 assists and nine rebounds for the Jazz, who had a two-game winning
streak snapped.
The Jazz had a slim 62-61 margin going into the final 12 minutes. However, the
Pacers took the lead for good on their first basket of the quarter.
Croshere hit a three-pointer to spark a 21-7 run capped off by an Anthony
Johnson trey to make the score 82-69 with a little under seven minutes left in
the contest.
Indiana continued to hit baskets and never let Utah get closer than eight
points.
The Jazz made it an 89-81 game after Okur hit two free throws with 1:31
remaining in the contest.
However, Indiana was able to kill off a good chunk of the clock on its next
possession, running the 24-second clock down to zero and grabbing a rebound
off of a Jackson three-point miss. Utah fouled and Jackson hit both of his
free throws to ice the contest for the Pacers.
"It's always a struggle when you play Utah," said Pacers coach Rick Carlisle.
"It's a war of attrition. If you don't play hard you get run over like a
steamroller. You have to be very disciplined to play them and beat them."
The Jazz had an early 6-0 lead as the Pacers did not make their first basket
until the 7:32 mark of the first quarter. However, they found their scoring
touch after O'Neil got them on the scoreboard and the Pacers led 19-18 after
the first 12 minutes.
The contest see-sawed throughout the second quarter. The largest lead
in the second was after O'Neal hit a jumper with a little over six minutes to
play to put Indiana up 30-25.
The scored was tied at 35-35 with under one minute to play, but Jasikevicius
hit a three-pointer and Deron Williams countered with a layup to make the
score 38-37 with Indiana taking a lead into the locker room.
O'Neal led all scorers at the half with 14 points. Okur led the Jazz with nine
Neither team was able to pull ahead in the third quarter with the score
remaining close throughout. Utah had the largest lead of the quarter after
Jarron Collins hit two free throws to give Utah a 62-57 lead with 1:19
remaining.
"That was a winnable ball game on our part," said Jazz coach Jerry Sloan. "I
think some guys weren't ready, when given the opportunity. They beat us off
the dribble too many times tonight. We had it in our hands, if we wouldn't
have given up on it."
The Jazz continue their five-game road trip at Milwaukee on Saturday…Indiana
travels to New York for a matchup on Saturday…Indiana has defeated Utah in
the last seven contests…The Pacers committed 19 turnovers and the Jazz had
15 in the game…Utah shot 43 percent in the game and Indiana shot 41 percent.
IND UTA


Dymocks - Comprehensive Radiographic Pathology by Ronald L. Eisenberg, Nancy M. Johnson, 9780323353243, PaperBack book.
Gain the essential pathology understanding you need to produce quality radiographic images Covering the disease processes most frequently diagnosed with medical imaging, Comprehensive Radiographic Pathology, 6th Edition is the perfect pathology resource for acquiring a better understanding of the clinical manifestation of different disease processes, their radiographic appearances, and their treatments. This full-color reference begins with a general overview of physiology, then covers disorders and injuries by body system. The new edition also includes the latest information on CT, MRI, SPECT, PET, ultrasound, and nuclear medicine - including updated radiographer notes, images, and review questions.


text:
Raccolto amaro è un film drammatico romantico del 2017 diretto da George Mendeluk.

Il film è il primo lungometraggio in lingua inglese che descrive la carestia ucraina del 1932/33 nota come Holodomor, un periodo che uccise milioni di ucraini per lo più etnici..

Trama
Ambientato nell'Ucraina sovietica all'inizio degli anni '30 Yuri combatte in casa contro le tradizioni imposte dal padre.Quando l'esercito di Stalin invade l'Ucraina, il giovane tenta di salvare il suo grande amore Natalka e si unisce al movimento di resistenza contro i  bolscevichi.

Produzione
Le riprese si sono svolte a Kiev.

Distribuzione
Il film è stato distribuito da Roadside Attractions, una divisione indy di Americas Lions Gate Films Corp., il 24 febbraio 2017 negli Stati Uniti e il 18 luglio 2019 in Italia.

Accoglienza

Incassi
Le vendite finali al botteghino globale sono state di circa 1 milioni di dollari. La sua uscita più ampia è stata in 127 sale, ma nel 2017/18 è stata proiettata in varie sedi in più di 100 paesi.

Critica
Raccolto amaro ha ricevuto recensioni per lo più negative. Su Rotten Tomatoes ha un indice di gradimento del 15%, basato su 61 recensioni. Sheri Linden del Los Angeles Times ha definito il film ''assolutamente privo di impatto emotivo''.

Il consenso afferma: ''Raccolto amaro è all'altezza del suo titolo con un cliché d'amore in tempo di guerra il cui  goffo melodramma disonora le vittime degli orrori della vita reale che usa come sfondo''.

Diverse recensioni concordarono sul fatto che il film avrebbe aumentato la consapevolezza, ma non descrive accuratamente l'argomento, con Peter Debruge di Variety che afferma "non ci possono essere dubbi sul fatto che gli eventi meritino un trattamento più convincente e responsabile".

Note

Collegamenti esterni

 https://www.mymovies.it/film/2017/bitterharvest/

Film drammatici

redpajama_set_name: RedPajamaWikipedia


What if this kid had gone to soccer camp instead?
We don't have anything against soccer -- or soccer camp, for that matter. But the video, "Caine's Arcade," that has been madly circulating around the Internet is a stunning testament to the power of boredom. We've written before about how our quest to keep our children stimulated at all hours of the day -- whether through scheduled activities or screen-based enterntainment -- fails to give them the down time and breathing room they need to nurture their creative juices.
Had this 9-year-old boy spent his summer in sports camp or in front of the TV, he never would have felt compelled to look at a pile of discarded cardboard boxes and imagine alternate possibilities. Before you rush to plan your children's summer, take a moment to watch this video. If you've already seen it, watch it again!
And last thing: Can we reiterate how much we love cardboard boxes?


Barnabas Collins made a return appearance to SCOOBY DOO when I wasn't paying attention.
The ghost of Elias Kingston, introduced more than 40 years ago during the first season of SCOOBY DOO, WHERE ARE YOU, showed his familiar face on the first episode of the new series, BE COOL, SCOOBY DOO. If the "ghost" looks a little like Barnabas Collins, it's not a coincidence. Kingston made his debut in a 1969 episode (titled "What the Hex Going On") that was absolutely lousy with references to DARK SHADOWS.
Below are a few images illustrating the episode's many homages to the gothic soap.
BE COOL, SCOOBY DOO should put to bed any doubts that Elias Kingston was based on actor Jonathan Frid. Not only does his return in the new series look more like Frid than ever, the character is significantly more fangy that before. See for yourself at the top of this post.
The episode (titled "Mystery 101") was broadcast on Oct. 15 on the Cartoon Network, which has graciously made the entire episode available for viewing online. You can watch a clip from the episode below, or catch the entire thing online HERE.


text:
What's the key to IoT device discovery in the enterprise?
Internet of Things devices are propagating within the enterprise. Expert Michael Cobb explains how an IoT device discovery process can help thwart security risks.
My organization is worried about the Internet of Things (IoT) particularly because of the lack of federated control...
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Enjoy this article as well as all of our content, including E-Guides, news, tips and more.
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around all of these connected devices and systems. Are there ways to control IoT device discovery and prevent the many issues associated with non-upgraded IoT devices?
Cisco predicts that around 50 billion devices will be connected to the Internet by 2020. There may be many benefits of having virtually every device -- from cars to household appliances, and even clothes -- connected to the Internet, but it represents a huge security risk to businesses and consumers, and it's already causing problems. Hackers are beginning to use inadequately secured gaming consoles, routers and modems to launch distributed denial-of-service (DDoS) attacks. Most are Universal Plug and Play (UPnP)-enabled, the underlying protocols of which can be abused. Akamai Technologies found 4.1 million Internet-facing UPnP devices were potentially vulnerable to being employed in DDoS attacks or abused in other ways. For example, the Moose malware tries to take over home routers by trying thousands of weak passwords; once it has taken over a device, it steals login details when people visit Twitter, Facebook and other social networking sites. Incorrectly configured home data storage devices (network-attached storage) are also providing hackers with an easy-to-access source of saleable data. As more and more everyday objects are connected to the Internet, the situation will only get worse. Are consumers really going to install the latest security patch for their fridge or think to erase data on their TV before reselling it on eBay?
Although sensors and computerized automation have been around for a long time, these systems have largely been disconnected from operational systems and the Internet. The transition we're seeing to more open network architectures, and particularly IoT, requires enterprises to re-evaluate their security policies and procedures to ensure these devices aren't open to abuse or sensitive data leaks. IoT devices should be risk assessed prior to being added to the network -- IOActive found the traffic control system used in Washington, D.C. transmits everything in plaintext and could easily be manipulated to allow an attacker to take complete control of the system.
Any approved device capable of connecting to the Internet has to be added to the enterprise's information asset register and included in the patch management process, as well as included in any penetration tests, as they are a possible attack vector. Configuration settings should always be hardened; IoT devices typically use default accounts and passwords, making them easy to compromise. Physical security also needs to be put in place. Business continuity plans will need updating, and bandwidth requirements will certainly need to be checked to ensure critical applications and processes can still access their required bandwidth, otherwise IoT devices could cause a self-induced denial of service.
The data paths between IoT devices need to be secure. If the data is sensitive, it will need to be encrypted, which means key management and identity management infrastructures are needed to control the relationships between devices; with 50 billion IoT-connected devices, it'll be impossible to securely authenticate each device relying on just a password. Where possible, enterprises should isolate these devices to their own network segment or VLAN. This will not only help to control IoT device discovery and contain any breaches, but will also make traffic management and monitoring easier. Monitoring the network traffic generated by IoT devices is going to be the best way to spot and stop malicious activity and attack traffic.
As with all things Internet, the commercial benefits and opportunities that IoT devices offer will see vendors rushing products to market before security concerns have been fully addressed. At present, IoT devices lack a common set of compliance requirements, though some organizations are working on various specifications. The Open Interconnect Consortium is defining a connectivity framework that includes consistent implementation of identity, authentication and security controls, while the AllSeen Alliance is working on an open framework to enable activities such as device discovery of adjacent devices, pairing, message routing and security.
IoT is a fast-evolving technology and enterprises need to put security in place from the beginning -- not as an afterthought -- otherwise IoT creates the possibility of attacks on a massive scale.
Ask the Expert:
Perplexed about application security? Send Michael Cobb your questions today. (All questions are anonymous.)
Internet of Things security is ushering in a wave of IoT services
Learn more about IoT security and seven risks to be aware of
IoT security: A winning strategy for MSSPs
By: Jason Howells
IoT application vulnerabilities leave devices open to attack
Singapore faced cyber attacks during Trump-Kim summit
By: Aaron Tan
Why enterprise IoT security is critical
By: Bodil Josefsson
Related Q&A from Michael Cobb
How to send secure email attachments
Sending sensitive information in attachments is inherently unsafe, and the main way to secure them -- encryption -- can be implemented inconsistently... Continue Reading
The risks and effects of spyware
Spyware can steal mundane information, track a user's every move and everything in between. Read up on the types of spyware and how to best fix ... Continue Reading
Symmetric vs. asymmetric encryption: Decipher the differences
Explore the differences between symmetric vs. asymmetric encryption algorithms, including common uses and examples of both, as well as their pros and... Continue Reading
4 Ways Thin Clients Strengthen Cloud Security –HPI
Preserve Your Choices When You Deploy Digital Workspaces –Citrix
A New Security Strategy that Protects the Organization When Work Is Happening ... –Citrix
IoT malware: How can internet-connected devices be ... – SearchSecurity
Securing IoT: Whose responsibility is it? – IoT Agenda
How does BrickerBot threaten enterprise IoT devices? – SearchSecurity


The course aims to provide the trainees with minimum knowledge and understanding of basic theory and practical skills necessary for the Electro-technical rating.
The course is designed for all future Electro-technical ratings that meet the conditions set in the Regulation on ranks and certification of seafarers (Official Gazette of Montenegro number 55/2013).
Candidates successfully completing the course will be understand the principles of electrical, electronic and control engineering at the support level.
The course takes full account of the detailed outline set in D.27. part of the Regulation on ranks and certification of seafarers (Official Gazette Montenegro number 55/2013). The course is fully compliant with the part of IMO Model Course 7.08.


text:
Instagram launches feature to let users add pronouns to profile
By Sophie Lewis
May 13, 2021 / 9:55 AM / CBS News
How pandemic is deepening gender inequality
How the pandemic is deepening gender inequality nationwide 07:31
Instagram users will now be able to easily add their gender identity to their profiles, after the platform launched a dedicated section for pronouns.
Users can share up to four pronouns with the new feature. They can be selected from a list of dozens of options, including she, he, they, ze, ve and many others, to prevent users from adding inappropriate words. Instagram plans to update the list of terms over time.
If users want to request a pronoun that is not featured on the already-existing list, they can submit a form to Instagram with their request.
To add your pronouns, go to your profile, click "edit profile," select the "pronouns" option under your display name and type any pronouns you want to select. In the same section, you can choose if you want to share your pronouns publicly or privately with your followers only.
Pronouns are visible directly next to users' names on their profiles. They will automatically be private, visible only for users' followers, for users under the age of 18.
Add pronouns to your profile ✨
The new field is available in a few countries, with plans for more. pic.twitter.com/02HNSqc04R
— Instagram (@instagram) May 11, 2021
Users are able to edit or remove their pronouns at any time. The feature frees up some of the valuable150-character bio space, which users previously used to feature pronouns, for other text and emoji.
The new feature, which is optional, is currently available in a few countries, but Instagram did not give any further details. The company says it plans to roll out the option to more countries in the future.
Several other platforms already allow users to add their gender identity to their profiles, including dating apps like OkCupid as well as rideshare companies like Lyft. Facebook has allowed users to share their pronouns for years, but the options are limited to he/him, she/her and they/them.
Just hours into his presidential term, Joe Biden's remastered White House website allowed users to choose their pronouns. The site's contact form allows individuals to select from the following list: she/her, he/him, they/them, other, or prefer not to share. Those who select "other" also have the option to write in what pronouns they use.
Here's how Republicans' proposed Fair Tax Act would work
How will Netflix stop you from sharing your password?
Among quiet quitters, highly paid men lead the exodus
Travelers opting for rail again as Amtrak expands options
Sophie Lewis
Sophie Lewis is a social media producer and trending writer for CBS News, focusing on space and climate change.
First published on May 13, 2021 / 9:55 AM


text:
A Lady's Cruise in a French Man-of-war, Volume 1
By Constance Frederica Gordon Cumming
top of his head, but it would be considered gross disrespect to appear thus in presence of a superior or at a religious service. He must then untie the string and let his hair fall on his shoulders. Rather odd, is it not, that they should have exactly the same idea on this subject as a Chinaman, who dares not venture to appear in presence of a superior with his pigtail twisted round his head? To-day the great chief's half-caste secretary asked me most anxiously when "Arthur Gordon" was coming from Fiji, and whether it was really certain that he would endeavour to force the Samoans to reinstate King Malietoa. I ventured to answer for Sir Arthur having no such intention, which seemed to soothe the inquirer and all his anxious surroundings. You may remember that we have twice had Samoan chiefs in Fiji. Once when they were brought as hostages on board the Barracouta, and once as a deputation to the British Government, to claim a protectorate from England. In each case, though the protectorate was refused, they were most kindly received by Sir Arthur Gordon, and amongst other attentions, were invited to dine at Government House. So several of those here assembled now recognised me as an old acquaintance, and are very friendly in consequence. It really is too sad to see those fine manly fellows, who, if they could but work in concert, might be such a powerful little community, now all torn by internal conflicts and jealousies, continually fanned by the unprincipled whites, who hope to reap their harvest in the troubles of their neighbours. I fear it would be difficult in a few words to explain the position of affairs, but I must give you a rough outline. The old original Tui Samoa-i.e., kings—were of the dynasty of Tupua. Some generations back the Tongans came and invaded Samoa, whose people resisted bravely, and finally expelled the foe. The Wellington of that day was a brave chief, who was thenceforth known as Malietoa, the "Good Warrior," a title which from that day has been borne by the chief ruler of the isles, even if not in the direct lineal descent. The chiefs of Savaii, and of part of Upolu, with the lesser isles of Manono and Apolima, elected Malietoa their king. The isles of Auna and Atua remained loyal to the
SAMOAN HISTORY. 57
Tupua family. They were, however, conquered by a successor of
Malietoa, who reigned as king of the whole group till 1840, since
which period a ceaseless strife has been waged between the con-
tending factions. These became aggravated in 1869 by a split in
the Malietoa camp, when, on the death of the reigning chief, his
two sons contested the succession. The chiefs of Savaii supported
the claims of the elder brother, while those of the isle Monono
elected the second, justly believing that the chiefs of Apia were
becoming mere tools in the hands of the foreigners.
This double civil war, fomented as usual by the whites, raged
till 1872, when the United States assumed a sort of protectorate
over the group, and in the following year a republic was declared,
the supreme power being vested in the hands of a representative
body of seven high chiefs. These were called the Tainua–i.e.,
the "Pioneers."
I must tell you that the great nobles of Samoa are called Alii,
and the greatest care is taken to preserve their line in direct lineal
descent from the ancient chiefs. It is not necessary that the title
should descend from father to son, only that it should be bestowed
on a member of the family, who can trace back his clear pedigree
to the true source. Therefore, on the death of a high chief, the
minor chiefs of the tribe elect the member of the principal family,
whom they will henceforth acknowledge as their political head,
reserving to themselves the power of deposing him should he
prove unsatisfactory.
These minor chiefs also hold their title as head of the family by
election—a son being often passed over in favour of a cousin, and
sometimes even of one who is no blood relation, but is adopted for
some political reason. These head men are the Faipule, who act
as local magistrates in each village, the affairs of which they dis-
cuss in solemn conclave. They have the name of being great
orators, and much eloquence flows in these legislative assemblies.
The great chiefs never speak in public, that office being deputed
to their official spokesman. In a general way the Samoan isles
have divided themselves into ten districts, each of which has its
distinct fono or parliament, and no action is taken in any matter
till the members of one council have arrived at something very near a unanimous decision. Of course, in times of war like the present, these matters are very irregular. In January 1875, a new experiment was tried. Unheeding the wisdom which forbids having "two queens in Brentford," the Samoans resolved to have a king of each dynasty, who should reign jointly: so Pulepule of the ancient Tupua race ascended the throne in company with Malietoa Laupepa; and the number of the Taimua was raised from seven to fourteen. How long this amicable arrangement might have continued, it is impossible to say; for on the 1st April 1875, a very serious phase of April fooling was enacted by an American adventurer, known as Colonel Steinberger, who, by some means not clearly explained, obtained a passage to Apia in the United States man-of-war Tuscarora, and on landing stated that he had been sent from Washington to organise a new government. As his sole credentials, he presented the Samoans with four pieces of cannon and a Gatling gun, which, he said, were a gift from President Grant. Utterly ignoring all the foreign consuls, including the representative of the States, he proceeded, under protection of the American man-of-war, to draw up a new constitution, declaring Malietoa sole king, and himself (Steinberger) prime minister, and, in fact, supreme ruler. This matter being settled, the Tuscarora sailed, and Steinberger proceeded to arm the schooner Peerless (which he had purchased in San Francisco) with guns and ammunition, and sailed to Tutuila to put down the disturbances in that island. The American consul (Mr Foster) vainly remonstrated against the proceeding of this unlicensed vessel flying the American flag; and taking advantage of the arrival of H.M.S. Barracouta, commanded by Captain Stevens, he seized the Peerless for breach of the neutrality laws. Then followed a meeting of all the foreign residents, resolving to free themselves from the tyranny of this self-constituted dictator. Many of the Samoan chiefs joined with the foreigners in claiming British protection—the German consul, Godeffroy's representative, being the only one to stand aloof. The Barracouta arrived on the
TIROUBLOUS TIMES. 59
12th December; and on the 7th February, Malietoa appealed to the United States consul to aid him in getting rid of his arrogant premier. Mr Foster forwarded this petition to the British consul and Captain Stevens, who, after an interview with the king and the Samoan representatives—the Taimua and the Faipule—agreed to arrest Steinberger, who, accordingly, was carried on board the Barracouta for safe keeping. His right hand, Jonas Coe, was however left at large, and by his advice the Steinberger faction proceeded that night to seize the king and carry him off to the isle of Savaii, where they forced him to sign a deed of abdication, vesting all power of government in the Taimua and Faipule. Within a week Malietoa contrived to send a message to Captain Stevens, acquainting him with these circumstances, and requesting his further aid. The Barracouta accordingly went to the rescue, and brought the king back to Apia, where he was landed with a salute of twenty-one guns, and a guard of marines was told off to protect him. The town was now full of armed mobs, who surrounded the British consulate in a threatening manner, so that Mr Williams, the consul, was obliged to swear in special constables for its protection. So matters went on till the 13th March, when the king, wishing to explain to his people his reasons for dismissing Steinberger, summoned all the chiefs to meet him at the neighbouring village of Mulinunu, which lies on a green peninsula beyond Apia. Malietoa was escorted by his principal chiefs, the consuls, and foreign residents, and Captain Stevens, with a guard of sailors and marines; the latter with unloaded arms, which were piled on reaching the village. Then, in their rear, appeared a strong party of armed natives, cutting off their retreat, and evidently meditating an attack. An officer, with a small party of marines, advanced to parley with these men, but were received with a volley of musketry, which killed and wounded several. Then followed a sharp skirmish, in which the sailors fought at a great disadvantage—the enemy being 500 strong, and concealed by the dense thickets of bananas and sugar-cane. Eleven sailors and marines were killed and wounded, and the assailants lost about double that number. Grave fears were entertained that the British and American consulates would be attacked; so they were put in a state of defence, which proved a sufficient precaution. Next day Mr Jonas Coe was tried by his consul and countrymen, and sentenced to be deported. So he enjoyed the privilege of joining his chief on board H.M.S. Barracouta, which soon afterwards sailed for New Zealand, calling at Fiji on the way (on which occasion I made friends with the three Samoan chiefs whom Captain Stevens had brought away as hostages for the good behaviour of their party). Much oil having been poured on these troubled waters by the soothing intervention of both French and English missionaries, and especially by the personal influence of the bishop, a superficial peace was established, and Malietoa Laupepa once more reigned as king. How soon disturbances have broken out, we now see too plainly." After our evening meal at the Fathers' house, I took a turn in the moonlight with M. Pinart and M. de Kerraoul, hoping to see a Samoan dance, which was to come off soon after sunset. But the council having again met, the dance was deferred till so late that I thought it better to come back here, where I found all the pretty little school-girls adorned with garlands, singing and acting very pretty quaint songs and dances, illustrating their geography, arithmetic, &c. Then about twenty grown-up women, who had come in from the village, sprang to their feet, and volunteered to show me some of the real old Samoan night dances—Po ulu fuka Samoa.
* The struggle lasted for some time. Finally, Malietoa again got the upper hand, and was acknowledged king by the foreign Powers, General Bartlett, U.S., being his prime minister. In August 1879, the Hon. Sir Arthur Hamilton Gordon, Commissioner for the Western Pacific, arrived at Apia, and concluded a treaty with the king and Government of Samoa, declaring perpetual peace and friendship between the people of their respective isles. The Samoans ceded to Britain the right to establish a naval station and coaling depot, as had previously been granted by treaty both to Germany and America. On the 8th November 1880 King Malietoa died. He was barely forty years of age, and a man greatly loved by all his own people. Probably but for the disturbing presence of the meddling whites, he might still be reigning over a happy and prosperous people. As it is, the country is once more in a state of anarchy; and the good bishop, whose heart yearned for the peace and prosperity of the people, has himself passed away to the world where all is peace.


Branding 101 dictates that a business has a logo. This signature design element is ground zero for all of your branding elements. The colors, fonts, tagline, all work seamlessly together to communicate your business brand, culture, and mission. The quality of the logo is a direct reflection of the quality of your reputation.
You are standing in line at the coffee shop and a new business introduction is made. Enter the business card. The perfect tangible and authentic advertisement. Texting, email, and telephone cold calls are important. However, business cards are the first "freebie" that your business awards potential customers. Keep the design clean with only essential contact information. It is not a flyer or brochure. Only a logo, name, phone, email, and website are must-have contact details.
I learned early on that my invoice is the last phase of the sales funnel. It should be just as professional, if not more professional, than the advertising I used to initially attract the customer. Envelopes, letterhead, thank-you cards, labels, and invoices should all have your logo, use the same colors, fonts, and must follow a consistent branding standard. Inconsistent branding is worse than no branding.
The brochure is your offline website that a customer can pick up and take with them to read later on. It is basically an enhanced business card and marketing tool that summarizes your business value proposition with a call to action (CTA). Similar to the business card, it is another "freebie" you are able to physically hand to a customer. The other important consideration is that the brochure can be distributed as part of your offline marketing. Some perfect places to leave your brochures include business offices, doctors' waiting rooms, auto repair waiting areas, restaurant lobbies, hotel lobbies, and tourist bureaus. Be creative.
In a world that has been so digitized, physical interaction is very important. Your business should invest in a few promotional items that possess a tangible purpose. These items can be handed out after a great meeting, or initial contact. Pens, USB sticks, magnets, calendars are just a few ideas. A recent survey revealed that 66% of the participants said they could remember the brand on the promotional product they received.
In summary, a website cannot and should not replace personal interaction. You can achieve impressive results from handing out these printed essentials in person. The best customers are the ones we have the best personal relationships with. GIve them something printed to remember your brand, and you, in the process.
Talk to me about getting a full brand boost for your business. Don't miss out on a new customer because of missing or poor branding.


Temperature measurement is the process of measuring a current local temperature for immediate or later evaluation. Instruments which is used to measure temperature are Thermocouples, Thermistors, Pyrometer etc. Humidity measurement is the process of measuring amount of water vapour, or moisture, in the air and A humidity monitoring device is called a hygrometer.


Games Workshop deal extension signed.
THQ has signed a new "multi-year" extension on its exclusive Warhammer 40,000 licensing agreement with brand owner Games Workshop.
A more specific timeframe wasn't put on the deal, but it covers all relevant platforms including "core, social and mobile rights."
The announcement also noted that the Warhammer 40,000: Dawn of War RTS titles have now sold 6.5 million copies.
"The complex, futuristic war-torn universe created by Games Workshop equipped THQ's award-winning development teams with the material to create one of the most loved PC franchises - Warhammer 40,000: Dawn of War," said THQ CEO Brian Farrell.
"Our envisioning of the Warhammer 40,000 universe will continue to grow with top quality games across all platforms, including the upcoming launches of Warhammer 40,000: Space Marine and Warhammer 40,000: Dark Millennium Online."
Games Workshop boss Mark Wells also chimed in, adding, "We know that the depth of the storylines, characters and imagery of the Warhammer 40,000 universepositions the IP to excel across many media platforms.
"Extending our agreement with THQ will help ensure that Warhammer 40,000 maintains a strong and growing presence in the video game space."
Space Marine, trailered below, is due out on PC, PlayStation 3 and Xbox 360 in Q3 2011, while the Dark Millenium Online MMO is still without a confirmed launch window.


If you are convicted in Columbus of an OVI offense, the penalties are severe. Below is a list of penalties for a <!––>first time offender<!––>. Keep in mind, just because you are a first time offender, it is NOT a right of passage to the minimum sentence. The judge will take into consideration the totality of the circumstances that surrounded the arrest.
A first time offender with a chemical test below .170 or a refusal of ANY chemical test, faces a minimum of 3 days in jail or 3 days in a driver's intervention program, a $375 minimum fine and a minimum of a 6 month driver's license suspension. Those are the minimum penalties allowed by statute.
However, a convicted person faces up to 6 months in jail, a $1075 fine and up to a 3 year driver's license suspension. In addition, the restrictive yellow plates and ignition interlock are both optional at the court's discretion.
If you test a .170 or above by a chemical test, you are considered a "high tier" test and the penalties are enhanced. They include: 6 days in jail (3 days may be served in a driver's intervention program), $375 fine, 6 month driver's license suspension, and mandatory restrictive license plates. However, the maximum penalties mirror the above mentioned for a test below .170.
An OVI conviction in Columbus, Ohio is a serious offense. You should always hire an experienced DUI / OVI lawyer to help guide you through the process. We here at Suhre & Associates have over 20 years of combined experience to help during this stressful time.
So, if you or a loved one has been arrested for a first time DUI in Columbus, Ohio, call Suhre & Associates at 614-914-4822. The call is FREE and there is no obligation.


The average cost for a liftgate lock actuator replacement is between $314 and $332. Labor costs are estimated between $67 and $85 while parts are priced at $247. Estimate does not include taxes and fees.
What is a Liftgate Lock Actuator?
If a car, van, or SUV has a liftgate, then it probably has an electric lock. Or more accurately, an electrically-actuated lock. The key can be used to manually lock and unlock the liftgate. But if the remote key fob or a switch inside the vehicle is to be used instead, something else has to turn the lock. The liftgate lock actuator is a solenoid (or, in some cases, a DC motor) that responds to an electrical signal and moves to work the lock mechanism.
How do Liftgate Lock Actuators work?
When a button is pressed on the key fob (or in the vehicle), a signal is sent to the Body Control Module (BCM) which, in turn, communicates with the liftgate lock actuator. The lock actuator is mounted, in some cases, between the lock cylinder and the lock and latch assembly. It is attached to the lock linkage (a cable or rod) inside the liftgate and responds to the signal from the BCM to move the linkage back and forth, to lock and unlock. Many newer vehicles have the actuator built into the latch assembly.
What are the symptoms of a bad Liftgate Lock Actuator?
There are a number of symptoms associated with a failing liftgate lock actuator. If the liftgate fails to lock or unlock at all with the electronic controls, the actuator may be bad. Normally (and depending on the type of actuator) a slight clunking sound or a whirring sound can be heard when the locks are activated. If the sound of the actuator becomes weak, excessively noisy, or it begins to make grinding noises, it could be failing. The lock may also move partially, but not all the way, indicating that it is going bad. Sometimes the lock actuator behaves erratically. If the doors lock and then unlock quickly - or they work intermittently - the lock actuator may be at fault. Each lock, in the doors and in the liftgate, has its own actuator. If one of them begins to work erratically, all of the locks may act in unison, making it difficult to know which actuator is the culprit.
Can I drive with a bad Liftgate Lock Actuator?
All of the locks in a vehicle are tied into the same central locking system; each component may have an effect on the next. Operation of the whole locking system can be impacted. The problem should be evaluated and repaired as soon as possible by a qualified professional.
How often do Liftgate Lock Actuators need replacement?
The liftgate lock actuator does not have a replacement interval and is not part of routine maintenance. The actuator should last the lifetime of the vehicle. Unfortunately, some actuators do fail prematurely. It is not unheard of for more than one actuator on a vehicle to go bad around the same time.
How are Liftgate Lock Actuator issues diagnosed?
Diagnosis depends on the year, make, and model of the vehicle. If the locking system is controlled by a Body Control Module, a technician will note whether only the liftgate actuator is showing symptoms, or if all of the locks are faulty. If all of the locks are acting the same - failing to lock/unlock, unlocking intermittently, etc. - the BCM may be at fault. The technician will use a scan tool to read data from the BCM. On some older models with a separate lock controller, a software update may be required. If the BCM/controller is functioning properly, the technician will remove the switch inside the vehicle (if so equipped) and test it with a multimeter to make sure it is operating. If the switch has power and is operational, the technician will use the multimeter to check for voltage at the actuator. If the actuator has power but does not function, or if it functions partially, it will need to be replaced.
How are Liftgate Lock Actuators replaced?
To replace a liftgate lock actuator, a technician will need to open the liftgate and remove the interior trim panel. Some electrical components mounted in the liftgate may need to be taken out for access. The lock actuator (or the latch assembly in many cases) is disconnected from its linkage and electrical connector.The retaining fasteners are unscrewed and the actuator or latch is removed and a new one installed.
RepairPal recommends that an OEM replacement part be installed in place of a failed liftgate lock actuator. Many aftermarket actuators have a high failure rate. If the actuator prevents the liftgate from locking, as is often the case, no valuables should be left inside the vehicle. Also, the alarm may sound intermittently while the vehicle is locked, so determining the best course of action to protect the vehicle and avoid draining the battery should be taken.
A failing lock actuator can be a symptom of a larger issue with the central locking system, including problems with the BCM or multiple actuators. A fault with the liftgate actuator can cause problems with all of the actuators.
Can I replace the Liftgate Lock Actuator myself?
Depending on the specific year, make, and model of vehicle, replacement of the liftgate actuator can be a challenge. The level of challenge depends on whether the actuator is part of the latch assembly or is a separate unit, and how hard it is to access. Vehicle-specific repair information such as an online manual is helpful. An intermediate DIYer can perform the repair in some cases. But, on some vehicles, diagnosis can be difficult if symptoms are related to an electronic problem rather than a single actuator, and a scan tool will be needed.


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Ok, so it was not so bad, but how many times do you get to write DOOOOOOOM in a heading (plus or minus a few OOOOO's)? That should be on a bucket list somewhere. When we went into the remodel, we knew we were going to make a center island. When we were purchasing cabinets at IKEA they had no words of wisdom on how to do it. I goggled around a bit for some tips. I found this website and this one too that I thought were helpful. Really it just boiled down to just do it and make it work. Since we put in a floating floor, we decided the best thing was to put the floor in and place the all of the cabinets on top it. It would keep it down, all at the same height, and eliminate any bad looking edges. It just means that people better like our floor for a long time. Its a 20 year life span so it should not be a problem.
The island has a countertop length and width of 4 feet by 5 feet (about). This gives us an overhang on the far two sides of about 12 inches allowing us to create a breakfast bar. We wanted to keep it small though as our whole kitchen and house is very "tight" but still wanted the open feeling of a center island. The island helps bring together the kitchen, old dining room, and the living room.
To start with, we wanted an island that had storage on both sides. We selected two cabinets that were 12 inches deep with lots of shelves to hold things like fancy glasses and specialty cooking items. We butted these up to two cabinets that were the standard 24 inches deep facing into the kitchen. We built the IKEA cabinets.
We built a frame on the floor out of two by fours. This allowed us to attach the cabinets to the frame and the frame to the floor. We will cover the evidence of the frame by nailing over it with toe-kick.
To keep the cabinets stable while we worked, we would attach one to the floor, then attach it to its next door neighbor. It helped keep them steady, but it did mean we had to remove screws a couple of times and readjust!
Once we had all of the cabinets in, we adjusted them until they were parallel with the floor grain, otherwise it made the whole kitchen look loop-sided. We put a plug into the cabinet closest to the fridge, but dropping a hole into the floor and bringing up wire. We got a nice little remodel box to hold the electricity that does not interfere with any of the drawers.
To cover the sides, IKEA sold us two smaller appliance panels. Now the trouble with this was that they did not actually cover the whole side! Too short. We decided to use them on the side with the electrical plug as it would make it easier to put in the hole for the box. To make up for the two short, we used a T-mold for a matching floor to fit between the two pieces and make them the right length. You can kinda see it in the picture below. It looks a tiny bit different depending on the light.
For the other side, rather than having a seem facing out, Erik cut one of the bit appliance panels to the right length and attached it. Its nice, doing that actually saved us about $100 from using the two panels, plus it looks nice that there is no seem.
For hardware we got some nice handles from Lowes. We got bigger 4 inch handles for all of the drawer pulls and smaller 3 inch handles for the cabinet doors. Here is a picture from Lowes.
So now we are just working on getting it all in and done. I will have some final pictures coming in soon. Right now we are trying to deal with a sink. Happy New Year!!!


text:
Violinist.com - Violin Blogs - Rhiannon Schmitt - Blog Entry
Viola Players Have the Last Laugh: Viola Jokes don't discourage us from filling in the harmonies and living a quiet life in the orchestra pit
"Why is a viola better than a violin?"
"The viola burns longer." Ba-Du-Bum!
As a viola player myself I've heard hundreds of viola jokes and have earned the right to retell them ad nauseum. This violist ain't touchy about viola jokes and I'll even squirt milk out my nose when told a particularly nasty one I haven't heard yet.
What I find more frustrating than viola jokes is how many people don't even know what the viola is! It's bad enough to be ridiculed, but far worse when no one knows you exist! When prodded with the violin vs. violin joke opener, my inner music geek is compelled to ramble the viola gospel. "The Viola is the 'Alto' voice of the violin family, hence is tuned a perfect fifth below violin."
Blank stares await the real punch line. I need to get out more.
In truth the viola is much like a violin, so much so that many symphony goers simply think they're just more violins. Visually the technique is identical to violin playing: held at the left shoulder and bowed up and down, but with more broad movements as the viola is slightly larger than a violin. A larger instrument allows for a longer string length and increased body /sound chamber to allow the low notes to reverberate properly.
Simply put, the viola is like a slightly larger violin who's high Eing was replaced by a low Cing on the low end. This is pretty much all that separates violin from the viola. For violists size really does matter.
So what, it's a bigger, lower pitched fiddle? Why the ridicule?
"Why are viola jokes so short?"
"So Violinists can remember them."
The viola is like the quiet middle child: ignored by its parents and overshadowed by its other, more active and successful siblings. A fate worse than "playing second fiddle," viola's role in a symphony or string quartet is to provide middle harmonies (aka, the leftover scraps of chords no one else wants to play) and rarely plays the melody, or tune.
"How do you get a violin to sound like a viola?"
"Sit in the back and don't play."
Even visually the viola is neglected. We can hardly see them on stage tucked between second violins and cellos and facing their instruments away from the audience. They get less air-time than first violins and cellos and spend the most time taking breaks from play than any other section of the strings.
This leads to the solo issue. There is not much solo repertoire written for viola, which has long been viewed as the "strong, silent type." The lack of repertoire is most likely due to its mellow, deep tone, which, being less bright and projecting less than the violin, was believed by composers of the day to be less suited to virtuoso display. Hence the viola is rarely showcased and has to resort largely to adaptations of violin and cello repertoire to get any attention.
"Play in the low register with a lot of wrong notes."
A gap between viola and popular acceptance among musicians is the alto clef. Viola is pretty much the only instrument to use the alto clef and only violists can read the darn thing, so it keeps many musicians from picking one up and learning to play.
It's like the notes are written in a code no one else wants to learn to decipher. More tragically (and poetically), violists are like a dying out race whose language is dying with them.
[Cue melancholy violin solo rewritten for viola]
"What is the difference between a violist and a savings bond?"
"Eventually the bond will mature and earn money."
No matter how bleak the plight of the violist may be, the viola is still an absolute necessity in orchestral and string ensemble playing. You can't play a symphony without the viola section. Oh sure, you can draft some third violinists to play the part, but they can't play the low notes and get that throaty viola tone. This is where opportunity knocks and gives the meek violist an amazing advantage over violinists.
"What do you call a Viola player with half a brain?"
"Gifted."
Simply put, it's a matter of supply and demand. There are gobs of violin players in the world and a startling shortage of violists. For example, in ten years of teaching over a hundred violin students I've only worked with three viola students. You don't have to be a PhD to figure out the best way to get accepted into a music school or conservatory is to know how to play viola and read the alto clef.
"What's another name for viola auditions?"
"Scratch lottery."
Picture this: There are 25 violin spaces and 5 viola spaces available in a first year music program. 300 violinists and 2 violists have applied. Do the math and you can pretty much guarantee those 2 violists will make it in without much fuss from admissions staff.
"Violinists are a dime a dozen" turns into, "Invite two more viola playing friends and save up to 50% off your tuition! Call now!" The same speaks for scholarships available to violists only. They're rare, but they do exist.
"Classified Ads: Established string quartet seeking two violinists and a cellist."
Carry this concept forward to getting a position in a group. I had the privilege of playing at the BC Provincial music festival because a string quartet was short a viola player. I'm sure I never would have made it into the group as a violinist as the players were beyond my level, but I was the only gal around who could read that pesky alto clef!
Symphony auditions don't even seem as rigid for violists. "You play viola? You can sit here," was pretty much the response I received when inquiring with the Kamloops Symphony. I joined the immense viola section of two other violists for one concert and managed my way into the first violin section where I stayed content for the rest of the season.
It is very apparent that there is far less competition involved and violists do have an edge.
"Did you hear about the violist who played in tune?"
"Neither did I."
I don't intend to imply that as a violist you can get away with being a mediocre player. Far from it; you must have a command of the instrument which is both strong and sensitive at the same time. You must also have a feel for the instrument, which as legendary violist and conductor of Canada's National Arts Council Orchestra, Pinchas Zukerman, explained to me in an interview.
"The bow application is different on the viola," he said. "A slightly slower bow application is used on the viola because it's heavier and easier to control."
Zukerman also said, "Hearing the sonority of the instrument made me want to play the viola." And this is where many players are attracted to the viola. That wonderful, low Cing that reverberates in your bones.
"Why do Violinists switch to Viola?"
"So they can park in handicapped spaces."
I loved the viola before I even knew what it was. It was in my second year of violin when I bought the score to my favourite piece of music, Brandenburg Concerto No. 6 by J. S. Bach. Imagine my disappointment when I saw the solo parts written in a strange, alien clef. My school orchestra director kindly loaned me a viola and I learned the clef over the weekend so I could scratch out even the slightest bit of the music. I was hooked on viola from then on.
I've since worked to convince many of my violin students to switch to viola, citing the many wonderful opportunities mentioned above. It's got to be done! Viola players are just hard to come by otherwise. In my years teaching only one viola student learned viola before violin, the rest were violin transplants. This unforeseen anomaly is perhaps the only case of a violist who took up violin later.
"What do you call someone who hangs around musicians a lot?"
"A Viola player."
Who knows their reasons behind playing viola, but many amazing and well-respected musicians have played the viola over the centuries including J.S. Bach, Beethoven, Haydn, Mendelssohn, Schubert and violin virtuoso Paganini. Czech composer Dvorák considered becoming a professional violist but instead pursued composition where he wrote pieces which gave the viola a far more active role.
Some composers even preferred viola over violin, such as Mozart who was said to have performed the Principal Viola solo at the premiere of his then ground-breaking "Sinfonia Concertante." And some greats had their musical start on the viola. Jimi Hendrix, perhaps the 20th century's finest and most innovative rock- started his musical career at an early age on the viola!
"Why did the violist marry the guitarist?"
"Upward mobility."
Okay, so smashing a flaming Fender is way cooler than playing the viola. Heck, you may loose a teeny bit of sex appeal and overall charisma when you take up viola.
"Why is the violin smaller than the viola?"
"It's an optical illusion. They're actually the same size and appear smaller because the violinist's heads are so much larger."
In the end, it's not really the life of glamour and fame enjoyed by violinists. As the showy violinists clambour for a chance in the limelight, the humbled violists abandon any delusions of glory and accepts their fate with a healthy mix of zen detachment and humiliation.
Ahh, but inside every viola player is a daring rebel. An individual who has broken away from the establishment. You see them slogging away in the bowels of the orchestra, playing their unique middle harmonies with knowing grins on their smug faces. "We're absolutely essential and we know it."
Let the violists have the last laugh.
I love it! I'm actually married to a violist....
From Bilbo Prattle
"What's a third violinist?"
"A violist without a Cing."
From Darcy Lewis
How did I not know Robert is a violist?
A proud, yes, violist
From Ihnsouk Guim
Posted on January 31, 2007 at 11:08 PM
How about Koegelstaadt(?) Trio and Romanian Melodies? A violin wouldn't sound right there, would it? Fun reading.
Ihnsouk
From Mendy Smith
You took the words right out of my mouth!
Fellow Violist
From parmeeta bhogal
Posted on February 1, 2007 at 10:45 AM
You are so right about viola shortages: they are few and far between her in the Conservatory, so much so that any who make it to middle grade are moved into the youth orchestra..violinists have to wait another 3 years and compete before they get in...
My daughter plays the clarinet and wanted to play the viola as second instrument. Unfortunately, the piano is the compulsory 2nd instrument for all woodwind & string players here.
Someone told her that the reason she liked the viola because it had a similar sound range to the clarinet. I don't know if its true, but she certainly would have more opportunities with the viola than with the clarinet (ach, just those 2 places!!) If only I had known all this a few years back...
I'm just learning to play the viola as an adult after studying the violin as a child and adolescent, and I think I fit better as a violist than violinist. I prefer ensemble playing to solo playing, but even when it's just me I like hearing myself play the viola better than the violin. Something about the E string right under my ear was giving me a headache.
I was actually planning to cut the cord to the violin and play viola only, but I've been having second thoughts lately. First, I played a piece in church that sounded better on the violin, so I kept it on that instrument. Then, I started realizing I would miss some of my favorite violin pieces. And I like coming back to the violin after playing the viola: the vibrato feels so much more natural then. Maybe some of us are just "doomed" to play both instruments!
From Amanda Southern
You shouldn't be so self-deprecating! It's not THAT "humiliating".
I actually get really tired of viola jokes sometimes. We're just as good musicians, and we need to have some PRIDE.
From Eileen Geriak
What a wonderfully well written piece ! I love the viola, though I've never had the pleasure of trying one out. I just wanted to let you know how much I enjoyed the read !


The tide was too low to photograph my normal shore-brake but the was a great back was in the sunshine.
There are a few spots on the Cornish coast that have the most brilliant light. Everyone knows of St. Ives, Mother Ivey's bay is another and this is Porthcurno, definitely one of those spots.


text:
This article originally appeared in the Pittsburgh Pulp on February 12, 2004. It is reproduced here because the original article is not currently available at pittsburghpulp.com.
The Desperate Band Appreciation Society
The Breakup Society releases James at 35 and frontman Ed Masley's songwriting moves onto new ground
BY ROB CONROY
Ed Masley is getting older and he doesn't care. In fact, the gangly, 38-year-old singer/songwriter/ guitarist for the Breakup Society seems to welcome the idea of aging gracefully, albeit with a three-button suit in tow and his Les Paul Custom cranked up just a couple of notches shy of 11.
I think when people get to be my age, the tendency is to either go soft or develop a shtick," he says. "And I haven't done either. With the Breakup Society, I still rock the way I rocked when I was 20, if not harder, while addressing things from the perspective of a guy who knows he isn't even close to 20. And I almost think that this could be the niche I never had."
Based upon the evidence of the Breakup Society's debut album, James at 35, he might very well be right. Although Masley is perhaps best known locally as the Pittsburgh Post-Gazette's wise-cracking rock music scribe, he has spent the better part of the past 16 years fronting such outfits as Johnny Rhythm & the Dimestore 45s, Charm School Confidential, Don Capicola and, most notably, criminally misunderstood garage-pop underdogs the Frampton Brothers. In that time, he married his long-time partner Tricia Reinhold and became a father. And he moved beyond the cleverness that marked his writing from his earliest recordings with Johnny Rhythm to emotionally ambitious songwriting that taps into the pitfalls of adult situations with humor, compassion, and musical freshness that is hard to find elsewhere.
The album's opening salvo, "Robin Zander," is a case in point. In that song, Masley asks Zander, the blond vocalist for Cheap Trick who ruled covers of teen magazines in the late 1970s, to "go back in time" with him. According to Masley, "Zander" represents one man's "coming to terms with his own insignificance in the bigger picture," wrapped in the guise of a catchy, 1960s-style pop tune. "Every girl I ever had a crush on had a bigger crush on you," he sings in his distinctively yearning, somewhat reedy voice. But when mentioning Zander's name to a roomful of people 20 years after Cheap Trick's heyday elicits nothing but blank looks, he is spun into a crisis that sets the thematic framework for the rest of the album: "But if all you are's a footnote/ won't you tell me where does that leave you-know-who." The song works so well because Masley doesn't play on Zander's fallen status for cheap irony or laughs. Instead Masley gets his bewilderment across through a combination of self-deprecating humor, verbal economy and a perspective that should ring true for anyone who has ever felt like something less than an afterthought.
Throughout James at 35, Masley explores the pitfalls of romantic relationships -- rare occasions in his songwriting. The album's 16 songs are infused with nostalgia and an understanding of the pathos that can lie below the surface of any relationship, a result of what Masley calls his desire to move toward Ray Davies' approach of "looking at people's lives in a nonjudgmental, empathetic way." The results are nothing short of thrilling, both musically and lyrically.
"This is my big return to writing about relationships," he says. "It was this major part of my life that I never really sang about. Nonetheless, I think that it's an album of songs about girls written in the way the guy in the Frampton Brothers would have written an album of songs about girls." Interestingly enough, it's also an album of songs about girls played the way that the Frampton Brothers would have played them, as the album was recorded by Masley at former Frampton Brother (and former Pollen wunderkind) Bob Hoag's recording studio in Mesa, Arizona, with Hoag on drums and former Framptons Sean Lally on lead guitar and Ray Vasko on bass.
In fact, any further discussion of the Breakup Society -- which now features Greg "Slim" Anderson on lead guitar, Andy McDuffie on bass and vocals and Dan MacIntyre on drums -- must address the specter of the Frampton Brothers, from whose ashes the band sprang in December 2002. Over the course of 12 turbulent years and countless rhythm sections, the Framptons -- for all intents and purposes, Masley and Lally, who spent those dozen years playing Dave Davies to Masley's Ray -- gigged extensively (137 shows in 1992 alone) to little local but near-unanimous critical fanfare, and recorded three full-length albums and two mini-albums, which increased in quality and decreased in sales with each successive release. The band also met, if not surpassed, Masley's stated goal of becoming "the East Coast chapter of the Young Fresh Fellows."
"I thought of that generation of bands, they were the closest anyone was coming to being the Kinks -- a fun rock-and-roll band that was capable of writing songs with a lot of heart and that had a sense of humor," he says. "They were speaking to all of the same things that Bruce Springsteen was speaking to, but it was just in a different language."
Prior to meeting Lally in late 1989, Masley had been in a series of bands, starting in junior high school. Although he recalls as a kid being fond of records like Paper Lace's "The Night Chicago Died" and Bo Donaldson and the Heywoods' "Billy, Don't Be a Hero," it was watching the 1965 Beatles film Help! in seventh grade that inspired him to pick up a guitar. His parents supported his decision, he says, because they saw music as a way to keep him out of the principal's office at his Catholic school, where he could often be found, due to his "class clown" status.
Eventually he began writing his own material and began recording demos with Pittsburgh journeyman Mike Michalski on bass during college. These demos became unexpected hits on local college radio, and Johnny Rhythm & the Dimestore 45s were born. An eventual addition to the lineup was Anderson, who approached Ed after an early show. "I stepped into Ed's band by sheer force of personality," says Anderson, laughing. "I pretty much convinced him that he needed me to be playing guitar for his band."
After recording a regrettably produced, full-length cassette, Bud's Gun Shop, in 1989, the band called it quits, but not before Lally approached Masley in a similar fashion after a Johnny Rhythm gig.
The Frampton Brothers began as an informal acoustic duo, but added a rhythm section in time to record their first record, I Am Curious (George), in 1991. The following summer, the band completed its first national tour, playing venues all the way out to Seattle, where they opened for much-admired power-pop could-have-beens the Posies in front of a 500-plus crowd and recorded with Young Fresh Fellows producer Conrad Uno at Egg Studios. Both Masley and Lally remember the Posies show as a highlight of their Frampton Brothers experience. "We felt nothing but wide-eyed optimism at that point," Lally says.
Masley looks back fondly, but for different reasons. "At the Posies show, I got the mic knocked into my face and was bleeding -- that was a real highlight," he says. "I mean, we played to a roomful of people in the 'cool' city and they worshipped us. Looking back, they probably would have given the same response to anyone."
Although George found the band taking a decidedly jangly direction, prominently featuring Lally's Rickenbacker 12-string, its live shows and subsequent releases -- 1993's Don't Fall Asleep, Horrible Things Will Happen, 1994's Hate You e.p. and 1996's cassette-only The Frampton Brothers Play the Hits of the Staten Island Ferries -- found the sharpness of both their musical and lyrical attack increasing. Although the music was still power pop, the band began adopting a more crunchy, garage-band sound, thanks primarily to Lally's purchase of a Les Paul Standard, which helped to unleash his heretofore untapped ability to wrench the perfect note from any spot on the fretboard with real feeling and panache. At that time, Masley's voice may have been a bit rubbery around the edges, but he has always been his own best interpreter. Listening to those records now, it's hard to imagine anyone but Masley convincingly navigating his own private lyrical tightrope of honesty and irony.
When Nirvana broke at the end of 1991, it looked like things might be opening up for outfits like the Framptons. Despite the band's obvious talent, however, Masley had reservations about the likelihood of any such national success. "Pop songs that were sung by guys with weird voices and were played too fast and sloppy were suddenly all over the radio," Masley says, "and that certainly seemed like it might bode well for us. I think that I was pretty realistic about it, though -- I knew we'd have to leave Pittsburgh and I knew Lally wouldn't do it and Trish didn't seem excited about doing it. At that point, I just thought that this is what I do, not how I put a roof over my head. Although I had delusions of a lucky break, I knew we didn't have the commitment. I didn't want to be on the road 200-some days a year."
Tensions within the band began to increase, compounded by disastrous tours, low-selling but highly regarded releases, ill-attended local shows and volatile lineup shifts that culminated in an uncharacteristically well attended breakup show in March 1997 at Luciano's, a coffee shop and occasional music venue which stood across Forbes Avenue from the Duquesne campus. Oddly enough, according to Masley, the breakup was therapeutic. "With everything out in the open, it kind of made it possible for Lally and I to talk again, which we hadn't really done in four years or something," he says. "So we started getting together and writing songs about the breakup and the band in general, self-demythologizing songs, and it just felt really good."
In the summer of 1998, Masley and Lally decided to recruit Vasko, who had served as the Frampton Brothers' bassist for the better part of two years prior to the breakup, and Hoag, who had last drummed for the Framptons on a regular basis in 1994, to record another album at Egg Studios.
The resulting album became the final Frampton Brothers release, 1999's File Under F (For Failure), which featured such latter-day Framptons classics as "Dressing Room" -- a mordantly tongue-in-cheek, real-life account of being ousted from club-gig headliner Velvet Crush's dressing room in Albany, New York -- and the self-lacerating title track. "When we listened to the mixes for that album, I think that was probably the high point in Frampton Brothers history emotionally," Masley says. "We all felt that we had somehow just done the greatest thing we'd ever done and it was this brilliant conclusion to the whole ridiculous saga. The problem quickly became that when we found a label to put it out, it was increasingly obvious that we would have to be a band again to promote the record -- that we couldn't just be goofballs who went in and recorded this record. We'd have to actually play."
With that, Dan MacIntyre joined as the drummer and the band enjoyed a second wind of sorts, being the only Pittsburgh band selected to play two NXNW Festivals and the first to play the SXSW Festival. By all accounts, however, the band was unraveling rapidly. In December 2000, MacIntyre quit. Then, just after the remaining three recorded the basic tracks for what became James at 35 with Hoag during the summer of 2001, Vasko left the band. According to Masley, "The band had become a touring production of Who's Afraid of Virginia Woolf that had stopped touring." After a lurching final show at the Quiet Storm in the summer of 2002, Vasko's replacement, Joe Dello Stritto, quit, and the rest of the band amicably decided to call it a day.
Nearly two years after the breakup, Lally says that he does not think the band could have hoped for more success. "We never stood a chance -- we weren't goofy enough for the late '80s, RAWK enough for the early '90s, coherent enough for the late '90s and optimistic enough for anything later," he says.
Unlike prior albums that Masley released with the Frampton Brothers, which contained songs written as far as six or seven years apart from one another, all but one of the songs on James at 35 were written within a relatively brief period of time. Additionally, after Masley composed "Robin Zander" and "The Summer of Joycelynn May" -- which follows "Zander" both thematically and literally and finds Masley contemplating his first real-life, preteen crush from an adult perspective -- the romantic song cycle began to take shape.
"As soon as I wrote 'The Summer of Joycelynn May,' it occurred to me to do the songs in this kind of cycle, because 'Joycelynn May' picked up musically and lyrically from where 'Robin Zander' left off," he says. "That's when it occurred to me to write it as an album. I think the album as a whole is somewhat of a departure [from Frampton Brothers albums] because it's a more focused collection of songs."
At that point, Masley says, the "arc of the story took over and I just pulled what I could from my pre-Trish experiences" to shape the album. He repeatedly stresses that, while the emotional content of the album is based upon some of his early romantic experiences, he did not include any material that reflected his current relationship with his wife. "I never understood the idea of writing songs specifically about the problems you're having in a relationship with someone that you're professing in the song to be so important to you that you would write a song about it," he says, "because you're selling them out and it's clear that you're so self-involved that your art matters more to you than the person who loves you." Besides, he adds, happy marriages with great kids aren't effective subjects for great albums. Not that he feels that anger is the secret to great art. "I think that some artists are at their best when they're angry, but I don't think I'm one of those artists," he says. "I think that I do 'hurt' better than 'angry.'"
Since the basic tracks for James at 35 were recorded in the summer of 2001 with the same lineup featured on File Under F, the Breakup Society's basic sound is not always markedly different from Frampton Brothers albums. However, according to Masley, much of the credit for the finished James at 35 rests with Hoag, who sang backing vocals, played drums and keyboards, recorded, engineered and produced the album. A close listen to the record supports Masley's analysis, as all sorts of creamy harmonies, previously uncharted keyboard sounds and exotic percussion spring from the speakers with psychedelic ease, lending the record a feel that is completely distinct from Masley's prior releases. Not bad for a man who lives across the continent in Arizona and who has not been an official member of the band for 10 years. "The eight 16-hour days that Bob and I spent in the studio in late 2002 doing all of the vocal tracks and instrumental overdubs was the greatest musical experience of my entire life," Masley says. "This totally focused, album-making atmosphere was everything I thought being in a band was going to be but never panned out to be...and it sounded good."
Armed with the knowledge that he'd just completed the record of his life, Masley immediately began seeking bandmates to help him promote it. He had been discussing beginning a project with Anderson before the demise of the Framptons and proceeded accordingly upon his return from Phoenix. His next step was to give MacIntyre a call. "Dan is into power-pop and garage-rock and has always really liked my songs and has been a very supportive presence in the band," he says, having worked with MacIntyre in Charm School Confidential as well as the Framptons. "I really enjoy being with my daughter, so if I'm going to leave her to do something else, it better be fulfilling and exhilarating and fun. I knew that Dan would help to foster that environment." A chance meeting on the street with bassist McDuffie, whom Masley knew from his work in Kill Bossa, completed the original quartet.
Masley liked what Hoag's keyboard tracks added to the record, so he wanted to get someone to play them live. Rich Rust, a friend from the early 1990s who played in local bands including the Nixon Clocks and the Affordable Floors, e-mailed him after moving back from California. Based upon a shared love for Steve Nieve of the Attractions, Rust was recruited last May. "At first, he'd show up and he'd be really quiet...but after a couple of months, he was suddenly the loudest person in the room," Masley says. "And he'd truly become an essential part of our band -- exactly what I had in mind. I think that the show we played at Rosebud on Halloween was probably the best show I've ever played, and the parts that he had written for the songs were what brought it to this whole other level. He had made keyboards part of our sound, which is something that I'd never anticipated."
Right around Thanksgiving, Rust started missing practices. Masley thought he was losing interest in the band, but it was more serious than that. "It never, ever, ever occurred to me that he was really, really sick. He came to the rehearsal right before the AC/DC tribute that we played in December and he just looked sick as hell. Then he played the show at the Pub and he was leaning against the wall, hunched over the pinball machine while waiting to play, then he got up and played his set and went out the side door."
On Christmas Eve, Rust was diagnosed with cancer and began receiving chemotherapy the next week. By January 13, exactly one month after the 31st Street Pub show, Rust was dead. Masley is still visibly shaken as he talks about it. "I had never seen death move in on someone like that," he says. "He was being his total goofball self on Halloween, and he was fine at Laga on November 22. Maybe he was sick already, but he didn't seem it."
Masley is unsure whether Rust will need to be replaced in the band, but he is firmly aware of the gravity of the situation outside the band's parameters. "It was a great tragedy for his family," he says. "Us having to play as a guitar band seems pretty much like the smallest problem in the world compared to that. It all sucks on so many unfathomable levels for so many people."
The band felt that their first show without Rust, on January 30, went as well as could be expected. "What Rich brought to the band was a great sense of fun, and his death is a great loss," Anderson admits. "However, everybody's gotten along well in this band and the atmosphere in our working relationship is better than any project I've been in. I really, really look forward to rehearsals and wish we could get together more often than we do. That's saying something."
The fact that the material is of such a high quality doesn't hurt, Anderson says. "Although I've always been a huge fan of Ed's writing, he's always improved over time. Unlike most artists, who do most of their best work in their 20s, Ed is doing his best work in his 30s, and barring any unforeseen extreme success, I expect it to continue. It seems that success after a certain time tends to dilute art, so in some ways it's good that Ed hasn't had a ton of commercial recognition."
To Gregg Kostelich, president of Get Hip, the garage-rock label and distribution center that is releasing James at 35, the autobiographical ambiguity of the album's subject matter is one of the keys to its appeal. "The fact that we don't know if it's autobiographical or just musical -- right there, he wins as an artist," he says, noting that the heartbreaker "She's Using Words Like Hurt Again" is his favorite song on the album. "This album is a really good piece of work. If the record gives you goosebumps, then it's a hit -- it doesn't matter what the commercial rewards are. And several songs on this album did that to me."
Scott Mervis, who has been Masley's Weekend editor at the Pittsburgh Post-Gazette since 1996 and who has known and edited him since 1988, says that part of the key to the album's success is Masley's ability to connect with the preadolescent version of himself pictured on the album cover. "He is still that person in the picture on the album cover," Mervis says. "He is still in touch with the childhood version of himself."
With or without access to his inner child, Masley is characteristically reflective when it comes to his prospects for success. "To be successful, I'd have to do things that were distasteful to me," he says, "so I'm looking for a different kind of success: putting out records that I admire, that we can do our best to get into the hands of other people who might admire them, and take it from there.
"I keep it real, as they say in parochial school. And that's not terribly exciting from a marketing perspective if you're not out waving guns around or beating hookers. I don't have a rock persona I adopt. I don't get into melodrama. I just write about the things that I think shape the way we see the world and how we fit into that world, with a sense of humor and, I'd like to think, a sense of self-awareness. And that's not for everyone. Some people want a superhero on the mic, but I'm more Peter Parker. And I like that."
Let's hope he doesn't don a Spiderman costume anytime soon. Long live the three-button suit and Les Paul.


You sure can! When you purchase your annual pass, what you receive in the mail would actually be an exchange voucher. You take this to guest services to exchange it for the actual annual pass, so your 1-year term begins on the day that you obtain the pass in the park.


text:
/ Portrait - NPG x15001; Clifford Bax
Clifford Bax
© reserved; collection National Portrait Gallery, London
by Karl Pollak
chlorobromide print on card mount, circa 1948
14 5/8 in. x 11 1/2 in. (373 mm x 292 mm) image size
Clifford Bax (1886-1962), Dramatist and poet. Sitter associated with 16 portraits.
Karl Pollak (1902-1983), Photographer. Artist of 64 portraits, Sitter in 2 portraits.
Chlorobromide
Prince Charles is born in Buckingham Palace; he is the first son of Princess Elizabeth and the Duke of Edinburgh
The Secretary of State for Health, Aneurin Bevan, introduces the National Health Service. Health services in Britain were now funded from central taxation and free at the point of use for every resident of the country.
The First Morris Minor car designed by Alec Issigonis and his team (also responsible for the Mini) takes to the road, becoming a popular and classic English design.
F.R. Leavis publishes his influential study of the English novel, The Great Tradition. The book set out Leavis's ideas on the proper relationship between literary form and moral concern.
The policy of Apartheid is adopted in South Africa. Apartheid was a set of laws allowing racial segregation and discrimination against the black majority by the white ruling class.
As part of the dispute between Western and Soviet controlled Berlin, the Soviet Union blockades West Berlin, cutting off supplies. Anxious to avoid a conflict, America, Britain and France responded by flying in food and other provisions.
View a wide collection of video content on our YouTube channel from past projects to our latest films.
Sit back and watch
Artist and sitter interviews
Get insights into creating portraiture from BP Portrait Award 2020 artists and their sitters.
Explore behind the scenes
Sleeping Awake
Watch our film created to say 'goodbye' to the Gallery before we closed for our major transformation project.
Hear our story
Centenaries and Centenarians


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text:
Dembele sidelined five weeks with hamstring injury, Barcelona confirm
Written By Goal
Getty Images https://images.daznservices.com/di/library/GOAL/7f/33/ousmane-dembele-barcelona-2019-20_1a5lxkoht2031ith9mzou70y8.jpg?t=-1626560332&w=500&quality=80
O. Dembélé
Ousmane Dembele is set to miss "approximately five weeks" with a hamstring strain, Barcelona have confirmed.
The winger went 90 minutes in Barcelona's La Liga opener against Athletic Club, which saw the reigning champions downed on a late goal from Aritz Aduriz.
However, the club confirmed Monday that Dembele has picked up a strain in his left hamstring, and will be out for around five weeks.
EUROPEAN SOCCER LIVE & IN HD ON DAZN | DAZN CA
Dembele has enjoyed productive spells with the Liga champions since his move from Borussia Dortmund in the summer of 2017, but has often been limited by injuries.
A severe hamstring injury at the start of his time at Barca saw him miss over three months and he was sidelined for around another month with different muscle problem not long after his return.
Last season saw Dembele emerge as the preferred option in the Barca XI over Philippe Coutinho, but again he found himself sidelined with fitness issues at inopportune times.
An ankle injury last January knocked him out for three weeks and another muscle injury would sideline him for another month.
Then another hamstring injury in May ended Dembele's season, and forced him to miss the Copa del Rey final against Valencia, which Barca lost 2-1.
His latest injury concern comes at a difficult time for Barca, as their front line have been hammered by fitness issues to start the season.
Lionel Messi was not risked in the Liga opener against Athletic as he recovers from a calf injury sustained during a shortened pre-season after his Copa America exertions with Argentina.
Luis Suarez went down with injury during the loss to Athletic, coming off in the first half with a calf problem of his own.
Barca can call upon new signing Antoine Griezmann, but have already moved on a pair of attackers from last season in Coutinho and Malcom this window.
Coutinho's exit to Bayern Munich was confirmed Monday, with the playmaker departing on a one-year loan deal with the Bundesliga champions holding a €120 million (£110m/$133m) option to buy at the end of the season.
Malcom departed the club earlier in the summer for a €45m move to Zenit, having spent one disappointing season with Barca after a dramatic transfer from Bordeaux last summer.
However, rumours persist the Liga champions are hoping to secure a reunion with Brazil and Paris Saint-Germain star Neymar before the close of the summer transfer window.


text:
Q: powershell how to loop over files and zip them First time powershell development - have to say not intuitive for a linux scripter.
need to loop over files to zip them and getting errors - anyone have some feedback on a good one liner?
gci C:\temp -r *.csv |
Where-Object { $_.lastwritetime -lt (Get-date).AddDays(-10)} |
ForEach-Object {'c:\temp\bin\gzip.exe' $_.FullName}

A: You're missing the call (&) operator to actually execute the command in the string. If you don't do this, the string is printed out as the result of an expression evaluation (instead of as a command.)
gci C:\temp -r *.csv `
    | Where-Object { ... } `
    | ForEach-Object { & 'c:\temp\bin\gzip.exe' $_.FullName}

Incidentally, if you install the PowerShell Community Extensions (http://pscx.codeplex.com) then this becomes much simpler:
   ls c:\temp -r *.csv `
       | where { ... }
       | write-gzip

A: Applications can be executed in Powershell just by giving their name / path, you don't have to enclose them in quotes as strings and then use iex or &:
c:\temp\bin\gzip.exe $_.FullName

would work for the zipping part.

A: The following version of your script could come in handy when you can't rely on external tools:
gci C:\temp -recurse *.csv |
Where-Object { $_.lastwritetime -lt (Get-date).AddDays(-10)} |
ForEach-Object {
  $zip =  $_.fullname -replace "\.csv",".zip";
  new-item -type File $zip -force;
  ((new-object -com shell.application).namespace($zip)).copyhere($_.fullname)
}

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