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A new trailer for the upcoming game Dragon Quest XI: Echoes of an Elusive Age shows off the game's gorgeous artwork and the group of companions that you'll be playing alongside in this brand-new journey.
The game is supposed to be somewhat of a throwback to older, retro Dragon Quest games with each character in the party reflecting some older designs and personalities. Yuji Horii, developer, and creator of the series had an interview with Siliconera about each of the members of the party in greater detail.
Erik is the down-to-Earth character. He's fully governed and is a young thief<|fim_middle|> the Limnitary.
Veronica and Serena are the pair of female girls similar to previous female duo Maya and Meena in Dragon Quest IV. They're opposites in terms of personality and function for the party. Veronica is a mage and Serena is a healer. Their personalities offer plenty of content for the game's moments with a dynamic opposing personality setup.
Sylvando is a guy who's loud and annoying, probably because he's an entertainer. He's flamboyant, chivalrous, and somewhat buff. He has acrobatic skills.
Jade is a martial artist who acts as a sister to the hero.
Rab is an older character who's somewhat of a troublemaker.
The game is the 11th title in the long-running series, which was first released back in 1986. It'll feature many elements from the entire series due to it being somewhat of an homage to past titles, including the turn-based combat and classic designs created by Akira Toriyama and crew.
The game has already been released in Japan on the PS4 and Nintendo 3DS last year, with total sales around 3M copies. Worldwide release is scheduled on September 4th, 2018 for PS4 and Windows with a Switch version planned for release later on. | who's the first character to join | 7 |
Richmond, VA – March 2,<|fim_middle|> that meet or exceed vehicle manufacturer specifications and maintain warranty requirements.
Safety-Kleen is a leading North American used oil recycling and re-refining, parts cleaning and environmental solutions company, with approximately 4,200 employees serving approximately 270,000 customer locations in the United States, Canada, Mexico and Puerto Rico. Safety-Kleen provides a broad set of environmentally-responsible products and services that keep North American businesses in balance with the environment. For more information, please visit www.Safety-Kleen.com or call 800-669-5740. | 2012 – Local Grease Monkey franchisees, F. Champe Granger and Roger L. Bouchard, are celebrating the one-year anniversary of their recycling initiatives and providing an environmentally friendly motor oil, EcoPower, as an option to customers. In Richmond, EcoPower is only available at these two Grease Monkey locations, 3308 N Boulevard/804-353-0521 and 8509 Staples Mill Road/804-264-8789.
The two Grease Monkey locations are environmentally conscious, locally-owned businesses that started the "green" initiatives as an effort to give back to the community and to provide customers with environmentally friendly options to maintain their vehicles. Throughout the past year, these locations have recycled approximately 5,616 cubic feet of solid waste that traditionally would have been destined for our local landfill. Additionally, during the same time period, approximately 17,304 gallons of used oil and coolant have been recycled.
EcoPower is an environmentally friendly motor oil produced by Safety-Kleen, based in Plano, Texas. Safety-Kleen collects more than 200 million gallons of used oil a year and recycled approximately 140 million gallons of it into base oil products for re-use in the marketplace. Safety-Kleen's EcoPower is a top-quality motor oil that meets or exceeds all applicable specifications set by the American Petroleum Institute (API) and the Society of Automotive Engineers. More information about EcoPower motor oil is available at www.EcoPowerOil.com.
The Grease Monkey franchise system has approximately 250 centers in the United States, Latin America and China. Grease Monkey offers "no appointment needed" vehicle preventive maintenance services | 362 |
Renate Keerd is one of the best known Estonian dance artists and several festivals around Europe presented her first piece, "Mystical Sounds in the Snoring Night". She has also won a Philip Morris dance award for her work in 2002 and is one of only two local choreographers selected to perform in this year's Augusti TantsuFestival.
Her contribution "mobile home" is a two-hander for herself and Päär Pärenson, lasting 30 minutes and hot off the studio floor. Keerd's interest in theatre is reflected in the visual richness of the work, combining movement, slide projection, props and imaginative lighting by Eve Teras. The work opens with a solo from Pärenson at the back of the stage, between a corridor marked out by two rows of lights at floor level. He moves slowly and smoothly, starting bent over with hands and feet on the floor, and this theme of interchange between the four limbs runs through the piece. The languor and dim lighting gave me an impression of night and at one stage in a meditation position he rolls in circles using his back and his knees creating a memorable image.
The next section sees Pärenson interacting with slides of Estonian scenes frontally projected onto a screen at the back of the stage. He swims in a lake, peers into the windows of a house and so on<|fim_middle|> of artistic perfection, technical precision and self-control." The irony is that the work shows her immense control as she wheels around the stage swinging wide first both arms and then singly. Certainly the effect is awkward rather than beautiful, emphasised when she draws on two dreary coats, the second smaller than the first, to cover her powerful dancer's body.
In one section of the 30-minute work she shakes her head, making her hair behave like an oscillating mop and in another she jack-knifes forward, swinging her arms across her body. In the final stages, some of the earlier choreography is revisited with the addition of a snappy jump step with one leg bent. Here Croizé also slows some of the movement and beautiful lines appear, as a contrast to the dynamic, but utilitarian motion we have seen before.
I was pleased to have the chance to revisit "Blowing-Up" and the experience reminded me that often it is the mood of the viewer or the ambiance of the surroundings that dictate our opinion of a work rather than its intrinsic properties. | . This suggests a journey or exploration and although it is good fun, one or two fewer slides may be better. There is also a good theatrical effect as Pärenson, head to the ground, blows a line of powder around the stage.
When he is joined by Keerd, they soon slip into boots, which have appeared onstage, but with Pärenson wearing his pair on his hands. This could have seemed a gimmick, but I found it visually intriguing as they explore shapes in an extended duet, with the boots acting as reference points. At one point Keerd throws herself on her partner with tenderness and need. The boots are abandoned for the final section and a poem relating to dance projected on the screen in sections, while the dancers perform. For the first time my attention wandered a little and perhaps this ending could be tightened. A copy of the text of the poem would have helped. Overall I came away with a feeling of distinctive movement and eye-catching theatricality.
I had seen Claire Croizé's "Blowing-Up" in London earlier this year and it left me cold. However, in the faded beauty of the Kanuti Gildi Saal with its peeling, Soviet-blue paint and the high Gothic windows providing a back-drop, the work impressed me much more. Croizé studied at PARTS and Jonathan Burrows' collaborator Jan Ritsema assisted in the creation of this, Croizé's first dance solo. Ritsema's main experience is as an actor and director and he only came to dance in his 50s. His own "non-dance" approach can be seen in "Blowing-Up" and this aesthetic seems more at home in the cutting edge, post-modern dance world of the Kanuti Gildi Saal, rather than in the context of the generally more conventional fare we see in the UK.
No one could accuse Croizé of lack of effort and the vigour of the movement sometimes made me wince for her neck and shoulders. The programme notes told us that, "She does not strive to create beautiful movements, but rather to find beauty in the absence | 436 |
The Prince of Wales Northern Heritage Centre offers a variety of school programs, edukits, resources, tours and online exhibits to schools in the Northwest Territories. Check out our list of programs, download the pamphlet, and call us at (867) 767-9347 x 71245 or via email at pwnhc_education@gov.nt.ca to book a visit to the museum.
Use our online form to book your edukits.
The Prince of Wales Northern Heritage Centre has developed many online resources available to teachers and students. Below you'll find a list of many of these resources. We encourage you to explore our entire site for tools that could assist you in your classroom.
This primer outlines the benefits of incorporating project-based techniques to teach social studies curricula at various grade levels. By providing an opportunity to study topics through projects that are meaningful to student's backgrounds and experiences, teachers can enrich the classroom experience while creating avenues for self-expression and affirmation.
The Nationalism in the North: Exploring Land Claims and Treaties with the Historical Timeline of the Northwest Territories Teacher's Guide uses the new McGraw-Hill Ryerson (2008) texts (Exploring Nationalism and Understanding Nationalism) and the Oxford (2008) text (Perspectives on Nationalism) to ensure teachers of Social Studies 20-1 and 20-2 have a match with what they are required to teach, while incorporating examples of nationalism from northern history by using the Historical Timeline of the Northwest<|fim_middle|> holdings of the Archives. We encourage the use of the photo database as a research tool and for educational use in school projects and classroom lessons, subject to the inclusion of proper credit lines.
Heritage Fairs in the NWT are coordinated by the NWT Heritage Fairs Society and supported by the Prince of Wales Northern Heritage Centre and Department of Education, Culture and Employment of the Government of the Northwest Territories. | Territories and other tools.
The Oral Traditions Manual is a very useful tool for teachers and students interested in conducting oral history research and interviews. This detailed manual is available as a printable pdf download.
Within this section of our site, you'll find in-depth explorations on many northern historical topics. Check out the Idaa Trail virtual journey, which includes a Teacher's Guide download, the Historical Timeline of the Northwest Territories, and many other online exhibits.
Our Archival Database includes over 40,000 digital photographs from the collections of the NWT Archives, and many more records related to the | 122 |
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Technology can be seen<|fim_middle|> management of student records. | as a gift from God used to supplement the positive learning students glean from direct experience and observation of the world. When students leave Cornerstone Community School, we believe it is imperative for them to be equipped to live in, compete with, and transform their 21st century world. They should be responsible users of innovative tools and strategies that equip them to be Christ-honoring. Students should be able to proficiently use technology to make responsible choices, demonstrate discernment, further the Gospel, and model appropriate representation of their character. Teachers should be able to use technology to instill, enhance, and demonstrate these skillsets. Technology can help teachers scaffold learning while motivating students with unique gifts, introducing new content, reinforcing concepts, differentiating instruction, embedding individualized assessment and content, and furthering interactive experiences. Administrators should be able to use technology to effectively communicate the Christ-centered message offered by Cornerstone Community School. This will include effective communication, reporting, interacting with multiple audiences, and | 199 |
Stairs are important at home, as they are highlighting features in most houses. Stairs features a variety of schemes and layouts, all dependent on the homeowner and the budget. Before choosing, you should look at the different types of wooden stairs.
The most common stair set. Saddle stairs are staircases where the steps are set on the sawn-out or attached rise triangles or on bearing blocks fitted at the<|fim_middle|> stairs are usually straight up and down for each level, whereas spiral staircases look around to complete the transition. Instead of walking straight up the stairs, you are rotating with each walk, as the staircase runs all the way around. Think of a spiral staircase as almost like a revolving door, except that the staircase is in motion. Spiral staircases are as unique as they are rare, so it is always interesting when someone has a spiral staircase at their home. | strings. These do not come with risers, and they look like wooden steps when they are set up.
Typical in attics and basements, these stairs are a lot more skinnier than saddle stairs. They are made out of thin strips of wood with skeleton steps, in which the steps are usually deeper and slim.
Another common type of wooden stairs. They are similar to saddle stairs, except mortised stairs have risers. Risers are the vertical distance between each step, so each step has a set vertical height between them. The riser is usually under or behind the stair, as it raises height for each level.
Wooden spiral stair cases are outstanding. Where other stair sets feature levels to the next floor in an equal distance, spiral staircase differ as they loop around the level. For example, saddle | 166 |
Tredington Women's Institute. From its inception to the NFWI Jubilee Year: 1928-1965.
Written in 1965 by ALICE WALTON, which was the 50th anniversary of the founding of the Women's Institute.
Before beginning to tell of the doings of our Institute, we must try and picture our village at the time of its inception.
It was purely agricultural and the farming was being carried on more or less in the quiet slow pace of the big shire horse. There was none of the noise and rush of the combustion engine. There were a few infrequent buses which had superseded the village carrier, or the horse and cart of the owners of such luxuries. There was, of course, no electric light, little indoor water supply or sanitation, the earth closet still providing valuable manure for the allotment and garden, no public telephones, and few private ones. There was little community life except that provided by the Pub, then practically a "closed shop" for men, or the Mothers' Union for women. Musical tradition still lingered as a heritage from our Welsh rectors of the past but taking it as a whole there was little for the women beyond the daily round and common task of their homes.
The first World War was over, leaving us all poor and drained of materials of all kinds, and the Movement, which started in Wales, was brought into being by these conditions. Its aims and constitutions were to produce and preserve the food of farm and garden, to foster home crafts and aid rural education, give entertainment and community social life. It is a democratic constitution with an elected president and committee to carry out the work and wishes of the members, and the only rules that no party politics or sectarian religion be discussed, as these two most controversial subjects might cause members embarrassment.
There were to be monthly meetings with duly kept records, and speakers and demonstrators could be contacted through the panel of speakers provided by the County H.Q. of the Federation. Having served on this panel for about a year, I saw what a difference to village life it was making, and when County Office suggested a branch being formed in our village I was delighted. But our birth was not without its pains. The chief stumbling block was the difficulty of finding a meeting place. The only one available for such things was the Church School, and the rector at that time dis<|fim_middle|> these are put to our meetings and voted on by all members, and delegates duly make their reports.
Some of the subjects have brought improvements in such things as public telephones in rural areas; electricity and better public transport; improvements in sanitation and supply of water; improvements in hospital and health services, and the care of the elderly and young being some of them.
The changes in the social structure brought by mechanisation and the coming of radio and T.V. into practically every home have eliminated many activities of the W.I. , chiefly in entertainment by ourselves, and production and preservation of food, but there is still much to be done to meet the needs of country living, especially with the many townspeople who have come to live among us.
It is not only the things we do, but the working and playing together that brings so much pleasure, and there is a job for every member, if it is only to come to the meetings regularly and punctually, and speaking up when some opinion is called for which may help a freer discussion, and so help to make our meetings happy and profitable.
I end this small effort in celebration of our Jubilee Year with the hope that every member may find as much pleasure and help in membership of Tredington W.I. as I have in my period of membership which began when our branch was formed.
Again with all good wishes, I am,
ALICE WALTON | approved of the movement, and so made the charge prohibitive as we had no funds. However, nothing daunted, we gratefully accepted the kind offer of Mrs Holtom to use the disused bakehouse of the Old Mill.
There was no means of heating nor furniture or equipment for the cup of tea, but one provided an oil stove, another an old carpet to cover the uneven stone floor. Odd chairs appeared and sacks of meal or potatoes were utilised for seats, and what was there against the old village custom of taking your own cup and saucer? So, after a meeting of the whole village, which unanimously decided to form a branch, on February 13th, 1928, a representative from H.Q. Federation of Women's Institutes presided over the first meeting and I was elected the first President, with Mrs. Hewins and Mrs. Wilkes Snr., as Vice-Presidents, Mrs. Withey as Secretary, and Committee members, Mesdames Heaton, Berry, Holtom, Hewins, Humphries and Miss Hodges. Foundation members were Mrs. Summerton, B. King, G. King, Lunnon, W. Lunnon, E. Lunnon, Handcock, Rawlins, C. Rawlins, R. Rawlins, I. King, Bishop and Hollis, a total in all of twenty-three. The only member who had previous experience was Mrs. Withey, who gave invaluable service as secretary for three years, and was succeeded by Mrs. J. Eden, who held the office for twenty-one years.
Beyond the usual activities inaugurated by the monthly meeting, our chief preoccupation was raising money to build our own Hall. It was gathered by incredibly small sums by the standards of today. We traded with a shilling, we went picking blackberries with the added attraction of a picnic tea while doing so. We grew potatoes, we had Whist Drives and Fetes, with every known small gambling tick. But the biggest and most important event was a pageant of our own history.
The idea was started by a talk on local history by Miss Mills of Pillerton, who was secretary to the Warwickshire Local History Society, and she gave us most wonderful help. We enacted four episodes:
The burial of a Saxon king reputed to be buried here.
A Court Leet in the Middle Ages (chiefly chosen for picturesque head-dress)
The arrest of Fox, the founder of the Quakers and denounced by our Rector at that time.
Club day in Victorian times, with authentic dresses.
We made all the props and clothes and had two performances on each of two days, and were supported by H.Q. and neighbouring institutes and friends in a marvellous manner. It was a huge success and the results enabled us to build our own Hall, which was opened by the President of the County Federation on Monday November 2nd, 1931. Mr. Arthur built the wooden structure measuring 50ft. x 25ft. at a total cost of £270. We then had to equip it, so for some time we were in debt to the bank. It was the main contribution to the community life made in the first ten years of W.I. in the village. When I resigned the Presidency in 1938, Mrs. Q. Wilkes was elected to the office until 1948, and we celebrated our coming of age the following year with a wonderful partly at which quite a number of foundation members were present. I made the cake, which was decorated by our first demonstrator, Mrs. Stevens.
Mrs. Godfrey of Preston became President that year, and held office for four years until 1952, when Mrs. Wilkes again was elected, followed by Mrs Hunt for a year, after which Mrs. Challis became President up to this Jubilee year. Membership by then had risen to fifty-five, which reflects the growth of the village.
During the first period of Mrs. Wilkes' term as President the second World War broke out which greatly affected W.I. work, and members were called upon for service of all kinds, and the Hall provided a valuable asset. After the dreadful bombing of Coventry a whole boys' school was evacuated and arrived one dark evening too late to go to their billets, and so were given shelter and food in the Hall till next morning. Other war-time activities included co-operative jam-making, and in conjunction with the W.V.S> helped in billeting the people evacuated from the towns, trimmed camouflage nets, practised first-aid, and a hundred and one little jobs, such as collecting and sorting waste paper.
The Hall was used as an auxiliary to the village school for the duration of the war and again later when the population had so increased that the village school was overfull, classes were held there until the new school was built. This, as well as its use for meetings of all kinds including wedding receptions and flower shows proved that the hope expressed at its opening that the Hall would be of benefit to the whole village life has been fulfilled.
After the war much was done to improve the Hall. A kitchen with facilities for washing-up and cooking was added, and a small cloakroom and an outside shed for store. Lighting and heating by electricity was installed, the roof repaired, and general maintenance which had been neglected during the war was now possible, and mainly paid for by an annual rummage sale held in Mrs. Wilkes' garden, which has become traditional, but now, alas, at an end there, with the moving from the farm of Mr. and Mrs. Wilkes. Beside the routine monthly meeting with talks on a great variety of subjects, classes and demonstrations of all kinds have been held, and subsequent entries into County Competitions with good results, two outstanding ones being a History Scrapbook of our village, and a stall showing members' craftwork at Whitchford, which gained the silver cup. We have given a treat to the older inhabitants yearly, consisting of a mystery tour followed by a tea, and another to the patients of the County Mental Hospital. The sending of flowers and fruit to the members who are going through periods of sickness or sorrow, or joy, to express our sympathy in the crises of life that come to us all, brings a sense of fellowship which is such a valuable thing, and which has always been a great feature of our branch. We have for many years had a stall of produce at our meetings.
It must not be thought that our energy and thought end with purely local affairs. We have sent delegates to County and H.Q. annual meetings to take our opinions on wider topics and problems of modern life. Resolutions for | 1,381 |
We understand that college for adult learners – whether you've attended college in the past or not – is a big step. And one that involves a serious commitment on your part. We want to help you succeed!
That's why we offer so many ways for you to make your college experience fit your lifestyle and your learning goals, allowing you to 'customize' your college experience. There are choices regarding programs, learning sites, class schedules, term start dates, instruction methods and more. More importantly, we'll help you develop a clear academic pathway to the completion of your degree. With a clear goal, the road is easier to travel!
Apply online. It just takes a few clicks! The sooner you become a student, the faster we can help you reach your goals. Register today at: eicc.edu/apply.
Connect with an advisor. Set up an appointment with one of our advisors to review your goals, challenges, and education plans.
Ask for help at EICC and at home. Our EICC community is here to help answer your questions<|fim_middle|> students are re-entry students. Make connections.
Do something you love, it's important. Look into classes or a career choice that truly fit your interests and needs.
Embrace the change. Any significant change, whether it's returning to the workforce, going back to school, or having a baby, means reassessing your priorities. Recognize that while you're in school you'll have to make short-term tradeoffs with your time.
Keep an open mind about new learning methods. Today, there are many new ways to learn inside and outside of the traditional classroom. You may want to take your classes or even an entire program online. You decide what fits you best.
Realize how much you know. Many adult students overlook their influence on the learning environments they participate in. Often, they bring motivation and maturity to the classroom, and they aren't afraid to ask questions or seek an instructor's help. In fact, instructors say that adult students are often the stars of the classroom because of their unique perspective.
The prior experience and knowledge you bring as a returning adult student will benefit your college experience and your classmates.
Congratulate yourself. Coming back to school is a big decision to make. And at Eastern Iowa Community Colleges, you'll learn more! | . Our faculty, staff and students are great resources who know the college best.
Going back to school while balancing at-home responsibilities is not an uncommon feat for students. But it's easier when you communicate the importance of assistance, encouragement, and understanding to family and friends. Don't be afraid to ask for help.
but don't. Instead, relish the opportunity to be in social environments with others inside and outside the classroom and enrich your college experience. Remember, you're not alone in considering college after working for several months or years. A large percentage of EICC | 114 |
Flexible space for medium-sized gatherings.
Meeting Rooms are available at no charge to all public, private, profit and non-profit groups, regardless of their beliefs or affiliations. Granting permission to use library facilities does not constitute endorsement by the San Diego Public Library, the Board of Library Commissioners, or the City of San Diego. No advertisement or announcement implying such endorsement is permitted, unless written permission to do so has been previously given by the Library. Meeting Rooms are defined as spaces within library facilities that are designated for group meetings. Study Rooms and Special Event Spaces are separate spaces and have different policies for their use.
Meeting Rooms must<|fim_middle|> one meeting per month with a maximum 4-hour limit.
Groups may not schedule events earlier than three months in advance of the event.
Any exceptions may be made at the discretion of the appropriate library staff. | be requested at least two weeks prior to the requested date.
Each group may schedule | 16 |
Who is Petra de Jong?
I am Petra de Jong. Born and raised in Geleen, Limburg, the Netherlands. I was born in September 1967 and I am a single mum of two children, Ricardo, my son (20) and Gitana my daughter (17). Besides them, I have the pleasure to raise three dogs, Dusty who is 11 months and Laika and Iris, who are both 2 years old.
Hannie Sarris, Astrid Mulder and Diane Guelincx always have been my roll models. So I took the big step by e-mailing one of them, Hannie, that I just loved her work and would like to take a course in making a female head... Unfortunately, my dolls always turned out to be a<|fim_middle|> mermaids, from fairy babies to my fairies nowadays. The fairies are really the ones I like to sculpt the most and for now I make them with airdrying clay like premier or ladoll. I once have been working with fimo, creall, sculpey, living doll and pro sculpt, but due to my rashes, I do prefer to keep it to the air drying clays. But from time to time, I do sculpt a small fairy from polymer clay. I have not showed my work to the world quit yet, but I have sold serveral of my fairies in the recent past. I would like to use my website to show you all what I am working on these days. Enjoy your visite! | male...:-) Even though I knew there was a waiting list, to my big surprise I got placed very quickly. It was the first time I was going to work with an air drying clay and it was going to be a full sculpt too! What a challenge and revelation was that for me. I have a great deal of fond memories of those times and I will certainly be taking a course again some day!
In the past I sculpted all kinds of creatures. From forest creatures and trolls through dragons and | 102 |
Jay Putty releases new single "Trouble" – listen
Jay Putty is a country pop artist.
Born and raised in Evansville, Indiana, the young singer/songwriter and multi-instrumentalist grew up listening Journey and the Eagles.
"My music is kind of fresh in a way" said Jay about his music. "There really isnt an artist out there thats really infusing EDM and dance into their tracks and flipping them as pop hits. Im really trying to combine Diplo, Zedd, Skrillex, and a live show atmosphere into pop hooks in the likes of Jason Derulo, Bieber, and One Direction. Punk rock in EDM form almost."
<|fim_middle|>2:41:05+00:00December 3rd, 2018|NEWS|0 Comments | Putty released the album "Finding myself" in 2015, led by the single "I just wanna fall in love".
After several singles, he has just returned with "Trouble", a beautiful track about his wife.
"I wanted to write a song that summed up how I feel about my wife, whom I just recently married" explained Jay. "I really just wanted write something about how, even if it's hard work, finding that one you want to be with is worth all of it".
I know your family gave you lots of touble
For dating me and your friends agreed
That I was trouble
If only they knew half the struggle
That I went through just to be with you
Like every late night every bad fight
Every time we had to say goodbye
Every long drive wishing that
I was just by your side
Cause you can put the heavy weight on my shoulders
I will carry all of this til we're older
I will love you more than that
Til the end of time and back
Then double
Cause you were worth all of that trouble
All of that, all of that trouble
All of that all of that…
I'm glad our love is anything but subtle
Ten years later still just a love sick couple
The two of us just kids in love
You aren't the trouble
I will carry all of this…
Cause you were worth all of that
I will be there every day just to hold you
Even when we're old and grey just to show you
I would run through hell and back
Still I love you more than that
And double
Cause you are worth all of that trouble.
By allaroundnewmusic|2018-12-22T1 | 361 |
Walker Hayes
Music Tour Shack Track Box Merch Newsletter Be A Craig Fund
boom. Walker Hayes uses the word often. "It just felt right," the breakout country singer says of the title for his highly-anticipated new album. It's a celebratory sort of thing, he'll tell you. A new radio station adds his buzzing single, "You Broke Up With Me." boom. He links up for a national tour with Thomas Rhett. boom. That rowdy performance at CMA Fest –the one that had the crowd singing every word of his music back to him? boom. It wasn't always this way. Not by a long shot. Lately, though, Hayes has had occasion to bust out the word often. And he's not complaining.
A confessional, no-nonsense singer-songwriter, and one whose voice and perspective brims with relatability, Hayes is a tried-and-true Nashville standout. He's an original in a town all-too-often rife with mimicry and compromise. And, now, he has audiences flocking to him in a major way. Conversational, honest and real in song, Hayes' forthcoming debut album is the voice of a grinder laying it bare. It's the stories of a man who realized the songs he couldn't help but write — about family, struggle, vices and the sacrifices we make for a dream — were his and his alone. "It startles some people. Like, 'Wow, he's really putting out there,'" Hayes says of the raw songwriting that characterizes boom. and last year's two break-out 8 Tracks releases. "But, that's what my heroes did," he says referencing the Willie's and Waylon's and Merle's of the world. "I can only write something if I truly feel it."
And if the Mobile, Alabama native has learned anything over more than a decade spent in Nashville, it's that he can only be himself. His music — from the unflinching and honest "Beer in the Fridge," to the spare and tender love song "Beautiful," to "Craig," boom.'s gripping album closer that documents a friend who came to his family's aid in a time of need — is entirely Hayes' own, even if it's not always pretty. Hayes knows only he can sing, or yes, sometimes rap his songs. Nothing thrills him more than having no rules and no restriction on his creativity. "As an artist that was so freeing," he says of the flexibility from his label, the recently revamped Monument Records, to be his own man. "That was like somebody telling you to write for no other reason than to just write," he says alluding to the freedom to pen attention-getting songs like "<|fim_middle|> tell you is that he'll be heeding his own advice because, hey, if nothing else, it's gotten him to this point. "I started just trusting what felt right and what moved me and a lot of special songs came out," he says of boom. For Hayes, then, going forward the process remains the same. Says the singer of the road ahead: "I'm just going to continue finding out who exactly I am."
Walker Launches The Be A Craig Fund
In conjunction with the single, Walker has established The Be A Craig Fund as a tribute to the man named Craig whose kindness and generosity helped Walker and his family during one of their toughest times. The Fund aims to empower and encourage others to seek out opportunities to help those who need it and reflect the same kindness Walker received. Fans will be able to submit a story of someone they would like to "be a Craig" for, buy a BeACraig t-shirt with all proceeds going to the fund, or can make a simple donation. Several of the stories submitted will be chosen along the way and profits from fundraising will be used to aide those special people just looking for a little help.
For more information on The Be A Craig Fund, please visit: www.beacraig.org
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Built by 45PRESS | Shut Up Kenny," his ode to songs like Kenny Chesney's on the radio that can immediately snap you back into those memories. "No one was saying, 'Your song has to go on this radio station.' They just said, 'Go, do what you love and love doing it every day."
He'd long had it drilled into his head that there existed finite rules that comprised a successful country song. So, Hayes is the first to admit it caught him off guard when listeners responded so passionately to the personal music he was writing. The singer says that, in time, he realized simply, "people want to hear the nitty gritty of life and the honesty and the authenticity. Just because there is something that typically works on radio right now doesn't mean there's not listeners out there that are craving that personal experience that they can relate to."
"When I didn't settle for anything but the one-hundred percent truth in a song," Hayes continues, "listeners were intrigued the most." This father of six, who moved to Nashville on a hunch 12 years ago and for years and struggled to make it work, relishes his current moment. He'd been dropped from multiple record labels and admits there was a time he wondered how he'd feed his growing family. Not until he began peeling back the layers to his own life and subsequently documenting it in song did everything fall into place. "A song should move people like a conversation but be prettier and more memorable," Hayes says of his current attitude toward songwriting. "For me, it's just therapeutic to write."
Hayes has always been the type that had to be cajoled into doing what always came natural to him. The son of a real estate broker, Hayes loved music — piano recitals, noodling on his guitar — but figured he'd stick around home and log a normal 9-5. However, after constant needling from his father, Hayes finally agreed to perform at a local bar, if only to get dad off his back. It was a tiny stage, he remembers with a laugh — "a small crowd, but there was applause after my songs" — and it felt incredible. "For some reason, when I left that show that night I knew right then that's what I wanted to do," Hayes recalls. He called his wife, asked her if she wanted to move to Nashville, and she said yes without hesitation.
He instantly fell in love with songwriting, landed a job with a publishing company, and even got a record deal. But, things in Nashville aren't as easy as they seem and soon Hayes' deals fell through. For years, he grinded it out: writing songs for other artists where he could, working odd jobs to pay the bills, lying in bed at night trying to convince himself to not love writing songs anymore "because all it does is mess me up. It makes a fool of me. It strings me through all this up and down and eventually breaks my heart." But, of course, he'd wake up the next day and want nothing more than to write another song.
In due-time he linked up with ace songwriter and GRAMMY award-winning producer Shane McAnally who signed Hayes to his SMACKSongs publishing company and soon released two volumes of Hayes' music for free online — 8 Tracks, Vol. 1: Good Shit and 8 Tracks, Vol. 2: Break the Internet. As if without warning, the music quickly attracted a massive swell of popularity.
"It's when you almost lose that you really realize that maybe you were born to do this no matter what," Hayes says. "It's not about success or anything — it's where you belong."
And now, with boom., Hayes is ready to pull back the curtain entirely and give all of himself to his music, his fans, his family –everyone who has stuck with him on this long and sometimes painful journey.
Just like his songs, Hayes' live show is completely inimitable. Having long played showcases in the round — ones where he'd sit on a barstool and tell stories before performing a tune; he now distinguishes his shows using a loop, he beatboxes, and he incorporates a backing band of musicians into the mix. "The show is growing on a weekly basis," Hayes says. "When a crowd is so electric that you can feed off their energy you feel kind of invincible up there. It is amazing."
Hayes isn't one to predict what comes next. All he'll | 919 |
St. Mark's School's takes global citizenship seriously
by beth on March 21, 2014
Above: As part of their Global Citizen Initiative, St. Marks' School sent a group of students and faculty to their sister school in Haiti over mid-winter break. (Photo from St. Mark's website)
Several stories out of St. Mark's School this year relate to their Global Citizenship Initiative. So before sharing the stories, here's a brief explanation of that that means to them.
St. Mark's School recognizes that a global education is a critical component of a 21st century education. Therefore, the goal of the Global Citizenship Initiative, through both curricular and extracurricular offerings, is to help our students see and appreciate the distinctive features and the beauty that exist in the variety of cultures of the world, to appreciate the human universals that make all people more similar than different, and to inspire our students to become global citizens.
This year's monthly speaker series, Gray Colloquium, reinforces the importance with a theme of "Citizenship in a Technological World".
If you check out their website, you'll find information on an amazing range of Global Citizenship programs including:
Students working on a rural farm in Vermont for a semester
Exchange programs in Australia, South Korea, Germany, Chile, and China
Gap year work in Swaziland
<|fim_middle|> Students Spend Three Weeks at St. Mark's as Part of SM Global Citizenship Initiative
For three weeks in February, four Korean students from the Korean International School Jeju, South Korea's first Public International Boarding and Day school offering an American Curriculum and a sister school with St. Mark's, were part of the School community here in Southborough. Esther Kang, Daniel Kim, Joseph Kim, and John Hung, attended classes at St. Mark's and participated in a variety of activities such as squash, debate, and music. They were accompanied by Ms. Michelle Gow, the Dean of Residence for Girls at the International School. (read more)
St. Markers Visit Sister School in Haiti as Part of SM Global Citizenship Initiative
Over the recent Mid-Winter break, a group of students and faculty travelled to Haiti, to visit St. Mark's sister school there, Ste Marguerite's, as part of the SM Global Citizenship initiative. Sixth Formers Ali Mills and Finnegan Schick, and Fourth Former Desmond Goodwin, along with Ms. Liz McColloch and Mr. Chris Kent of the St. Mark's faculty made the journey. (read more)
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resident on Town considering adding Deputy Fire Chief position - 23 hours 38 minutes ago | Below are six stories on related programs that took place over January and February.
Students and Teachers from Chile Visit Southborough as Part of First SM Global Citizenship Initiative Exchange
Under the auspices of the St. Mark's Global Citizenship Initiative, six students and two faculty members from the Grange School in Santiago, Chile are spending a month in Southborough. During that time, Barbara Montes, Cristina Arias, Camila Gomez, Ariadne Chuaqui, Francisca Mendoza, and Franco Zautzik are fully immersed in the academic and community life of St. Mark's. (read more)
"Huh? Me? Thoughts on Citizenship in a Technological World": James Tanton Returns to SM for Gray Colloquium
On Thursday afternoon, Dr. James Tanton returned to St. Mark's to deliver the January 2014 Gray Colloquium address. The Gray Colloquium is designed to engage St. Mark's students in an exploration of one complex global issue annually. It has been made possible by the generosity of former St. Mark's Board President and Trustee C. Boyden Gray '60. This year's Gray Colloquium theme is "Citizenship in a Technological World". (read more)
Boston Chinese Musicians Association Perform as Part of SM Global Citizenship Initiative
On Monday, February 10, eight performers from the Boston Chinese Music Association (BCMA) gave a concert on the stage of the Class of 1945 Hall in the Putnam Family Arts Center at St. Mark's. The performance was arranged in cooperation with the St. Mark's Global Citizenship Initiative. (read more)
"Using Technology to Make Healthy Foods Taste Good": Whole Flavors CEO Chris Gilmore Delivers Gray Colloquium Address
On Thursday, February 20, Chris Gilmore, President and CEO of Whole Flavors, delivered the February Gray Colloquium address from the stage of the Class of 1945 Hall in the Putnam Family Arts Center at St. Mark's. The topic of his presentation was "Using Technology to Make Healthy Foods Taste Good." The Gray Colloquium is designed to engage St. Mark's students in an exploration of one complex global issue annually. It has been made possible by the generosity of former St. Mark's Board President and Trustee C. Boyden Gray '60. This year's Gray Colloquium theme is "Citizenship in a Technological World".(read more)
Korean | 516 |
After the Collapse
A look back at four minutes of pure fan hell that united a basketball-crazy community
By Tom Danehy
Most winning coaches will tell you that they remember their losses far more vividly than their victories. Perhaps it's because they win far more games than they lose, so the relative rareness of the losses causes them to stick out in one's mind.
More likely, it's that no matter how enjoyable and satisfying winning is, losing tends to stir stronger emotions. So it is with University of Arizona men's basketball coach Lute Olson, who is an astonishing 549-164 in his 22 years in Tucson (going into this season).
Despite the fact that his teams win more than three out of every four games they play and that Arizona has the highest winning percentage in the entire country since 1988 (yes, better than Duke or Kentucky or Kansas), it has been the fate of Olson and his many fans that his program is remembered more for the gut-wrenching losses than for the head-turning wins. All the beatdowns of UCLA and Stanford bring a warm smile to a Cat fan's face, but start thinking about the losses, and all of a sudden, you're Dustin Hoffman in the dentist's chair, and Sir Laurence Olivier is standing over you with a drill.
There is UNLV's Anderson Hunt knocking down an uncontested three to knock the No. 1 (in the nation) Cats out of the 1989 NCAAs. Or the ugly shot by USC's Brian Scalabrine that somehow defied the laws of physics to crawl up and over the rim to keep the 1998 Cats from being the only team in history to go 18-0 in Pac-10 play. Or something called Middle Tennessee State ...
All of those losses were sanded down somewhat by what happened at the end of last season: It was the loss for the ages. For those in the Wildcat family--whether they were on the court, the bench, in the stands or watching it on TV--it was the most painful, screeching, life-draining four minutes (on the clock) in anybody's memory. It's a game frozen in time, the agony from which might be eased a bit by a national title or two in the future, but one that will never, ever be forgotten.
It remains to be seen how this year's Wildcat team will respond to that loss (or whether it will have any effect at all), but what is certain is that, for the moment anyway, it is the 900-pound gorilla in the Wildcat Lounge.
It was on March 26 of this year, when the Arizona Wildcats basketball team took on the Illinois Fighting Illini in the Elite Eight of the NCAA Tournament. Illinois had been ranked No. 1 in the country virtually the entire season, while Arizona had gathered momentum as the season progressed and were playing as well as anybody in the nation.
It was a real Goliath vs. Goliath affair, and it turned out to be one of the great games in NCAA history. Alas, it also had the effect of reinforcing, in a big, ugly way, a negative stereotype about one of the great programs in the history of college basketball.
With 4:04 left in the game, the Wildcats had moved out to a stunning and seemingly insurmountable 75-60 lead. In sports bars all over Tucson, young men were trying to decide what to wear to the riots the following week. And television announcers were doing their best to sound convincing (and convinced) when they said, "It's not over yet."
Arizona had trailed early in the second half, but had slowly and inexorably moved ahead and then had exploded out to the double-digit margin. Sixteen-year-old Nora Gustafson (who plays point guard for the basketball team I coach at Green Fields Country Day School) looked at the clock at the bottom of the screen and allowed herself a slight smile.
"I hadn't been enjoying the game. It was just too nerve-racking. But when I saw that there were only four minutes left, I thought it would be hard for Illinois to come back. And then I noticed the 4:04. I thought it was symbolic. Channing Frye had come to see my team off when we went up to Phoenix for the state tournament. We made it to the Final Four, and I wanted him to do the same."
Sitting in the Allstate Arena just outside of Chicago, Bill Gibson felt uneasy. He was seated with the usual suspects, the wealthy boosters who are able to travel the country on a few days' notice to see their beloved Cats play. Some bristle at the phrase "wealthy boosters," but with the cost of airfare, hotels, ground transportation and insanely inflated ticket prices, you're simply not going to bump into a whole lot of middle-class boosters on these trips.
Gibson owns and operates Complete Landscaping. He works hard during the week and plays a lot of basketball on the weekends. But his passion is the UA basketball program. He has season tickets and travels to all of the postseason games. "I've been a fan of Lute's since he came to town. His teams play hard and they play smart. But when your team is always challenging for the national championship, your expectations are real high, and it's easy to get your feelings hurt."
The place had been raucous much of the day, and why not? The almost-hometown Illini had been perched atop the national polls all year long and were playing in front of thousands of adoring fans, almost all of whom lived within an hour or two of the suburban Chicago arena.
Nearly 20 years earlier, the NCAA had banned the questionable practice of allowing teams to play on their home floors during the men's tournament, considering it to be too great and unfair of an advantage. However, there are rules, and then there are rules. In an effort to boost attendance in early-round games, top-seeded teams are often placed in close proximity to their home. The UA sometimes gets to play in Tempe or Phoenix, while NCAA favorite sons North Carolina and Duke, whose campuses are less than 10 miles apart, are often allowed to play on<|fim_middle|> in the old building, but when the Cats notched that 15-point margin, things got appreciably quieter.
"People started leaving," Gibson says, "and not just Illinois fans. Certainly, a lot of them were walking out, but so were some Arizona fans. Some said they were going to follow Illinois fans out and ask if they could buy their Final Four tickets for (the following weekend). I guess that wasn't a horrible idea. The Illinois fans probably would've been happy to get rid of the Final Four tickets, and they probably wouldn't have been in a mood to haggle too much over them."
Still, Gibson had this nagging feeling. "I thought to myself, 'This thing isn't over.' I had seen too many basketball games to put this one in the bag. I mean, Arizona had played spectacularly well, but weird things happen."
Miles Simon, the man who, in 1997, led Arizona to its only national championship in men's basketball--and, in the process, pretty much guaranteed that he would never have to pay for another meal or drink in this town again--was sitting in a restaurant on the northside of town with a group of friends and former teammates. The group included Justin Wessel, the tall Iowa kid who went from comic relief to serious baller in his time at the UA; Jesse Mermuys, a gregarious hanger-on with limited basketball skills but the personality to keep just about any party going long after it should have died from natural causes; and John Ash, the Salpointe Catholic kid who was a walk-on in 1997 and hung around long enough to just miss out on bookend title rings when the Cats lost to Duke in the 2001 title game.
Simon knew the Cat players well. He had been working out with them on a daily basis, and the rumor was that he was up for a coaching position if he could complete his degree and if one of Lute's assistants moved on, something that happens with amazing regularity. Most longtime Cat fans adore Simon but feel for him as well. Had Simon left for the NBA after the magical 1997 season, he would've been a millionaire many times over. Instead, he chose to return to school for a shot at back-to-back titles, a dream that ended with a shocking blowout loss to Utah in the quarterfinals. After that, beset by injuries great and minor, he bounced around the underbelly of professional basketball, playing in faraway lands and in American locales best left unnamed.
His pro dream finally abandoned, unrequited, Simon returned to Tucson to plot a life course in another direction. He would eventually get that coaching position, but on March 26, he was just another fan, one forever comfortable in the knowledge of having defied the near-impossible odds in winning a national title himself but one also somewhat burdened by personally knowing the idiosyncrasies and tendencies (not to mention the hopes and the dreams) of the players who were now four minutes from a milestone that could shape their entire lives.
"It's strange," says Simon, "when we won the championship in 1997, everybody made this big deal about (our having finished) fifth in the Pac-10. But we seriously didn't think we could lose. We lost some games that year, but every time we did, we were surprised. When we got into the tournament, we just kept winning one close game after another. We didn't think we were a team of destiny or anything like that. We just thought we were better than everybody else."
John Ash remembers looking at the 15-point lead and thinking that it would be nice to have a couple more baskets. Every ballplayer and coach has a built-in comfort-zone number; for many, it's just past the teens. If Ogden Nash were doing it, it would be "15 is 19, but 20 is plenty."
Ash recalls, "I really thought it was going to be a blowout after that. Arizona was shooting lights out from the free-throw line, and Illinois was going to have to start fouling. I thought Arizona would pull away even further."
On the court, Arizona junior forward Hassan Adams had been playing spectacularly, teaming with the solid-as-a-rock Frye and the enigmatic Salim Stoudamire, a streak shooter with near limitless range. After two lackluster years in the program, the much-heralded Adams had been dismissed by many Cat fans as an underachiever, and far worse, by others as a knucklehead who refused to buy into Olson's tried-and-true system. But late in this season, Adams had corralled his game and was finally putting it to good use. He was proving himself on a national stage and was four minutes on the clock away from becoming a household name.
Twelve seconds later, Illinois hit a three-pointer. The Wildcats responded with two free throws, but then came another Illini three. "Those were big shots," remembers Simon. "If they had missed those, an air of desperation would have settled in. Instead, they were only down 11, and they still had 3 1/2 minutes left."
Inside the Allstate Arena, fans who were almost at the door heard the roar of the suddenly resuscitated crowd and turned back around. It was like the people in The Producers who, having endured the completely tasteless "Springtime for Hitler" musical dance number, are almost clear of the theater when they hear Dick Shawn's first words as a stoner hippie Hitler and turn around, mistakenly thinking that the play is intended as a comedy.
"People started coming back in, and you could just feel the wave of momentum shift in the building," says Gibson. "Illinois fans got fired up, and Arizona fans started thinking 'Oh, no!'"
That's "Oh no!" as in No. 3 seed Arizona bowing to 14-seed Middle Tennessee State in 1992, or No. 2 seed Arizona getting bounced by Steve Nash-led, 15-seed Santa Clara the following year. As in No. 1-in-the-country Arizona taking it in the shorts on a last-second three in the Sweet 16 by UNLV's Anderson Hunt in 1989. Or All-American Steve Kerr going 2-for-13 against Oklahoma in the Cats' first Final Four in 1988.
Longtime fans have a cornucopia of bad memories from which to choose. Some had featured a dreadful Cat offense, while others showcased a porous Cat defense. But none had involved blowing a 15-point lead with four minutes left. That would require an extraordinary effort on the part(s) of one or both teams.
At around the three-minute mark, Adams committed a turnover, and Illinois scored on a putback to cut the margin to nine. Amazingly, a full minute would tick off the clock before anything else of note happened--and then it was a spectacular block by Arizona's freshman sensation, Jawann McClellan. As the clock ticked inside 90 seconds, the Cats had the ball and a nine-point lead.
"I thought they (the Cats) were getting nervous," says Gustafson, "but then I thought it was just me getting nervous and mentally transferring it to them. I still thought they had (weathered the storm) and were going to be OK. There was no way they were going to blow that lead."
At 1:22, Frye threw a bad pass which was converted into a layup by Luther Head. McClellan soon hit one free throw, but Illinois' Deron Williams hit a driving layup to cut it to six with 1:08 left.
"I could feel it slipping away," says Simon. "That's an awful feeling. Just about every player has been in a situation where it's like a nightmare. No matter what you do, the other team seems to be hitting everything, and you can't do anything. It's horrible."
Mustafa Shakur hit two big free throws for the Cats, who would finish the game a stellar 18-for-21 from the line. With 1:03 left, the Cats had regained a semblance of order and led, 80-72. During the lull when the free throws were being shot, the energy in the building dipped somewhat. "No matter how hard they try," says Gibson, "fans can't sustain the intensity. It's hard to explain. They might be as loud, but they're not as intense."
The intensity returned six seconds later, when Head hit another three. Still down five inside a minute, Illinois was forced to foul. They did just that, hammering Shakur at midcourt. The refs (who did not cost Arizona the game) bought into that nonsense that they should somehow ref differently in the last two minutes of the game than they do in the first two minutes and collaborated on an embarrassing no-call. Illinois' Dee Brown hit a layup to make it 80-77. There were 45 seconds left.
By then, urologists all over Southern Arizona were looking at new boats in the catalog, because there was no way any of the hundreds of thousands of people watching this were going to take that much-needed bathroom break before the train wreck had come to a complete halt.
After another Cat turnover, Williams hit a three to tie the game at 80-80 with 39 seconds left.
Sitting in her living room, holding her pre-calculus book that she suddenly visualized going through the TV screen, Nora Gustafson could neither bear to look nor look away. "By this time, I figured that they would lose the game in regulation. At least they wouldn't be cruel enough to go overtime."
Which, of course, they did, but not before twisting the knife a couple more times. After a timeout, the Cats ran the clock down inside 10 seconds. Stoudamire, who had won the previous game over Oklahoma State two days earlier with a chilling 15-footer with five seconds left, drove to the hoop but was forced to pass it. McClellan took the pass and fired a wild shot. The rebound caromed to Stoudamire, whose long shot attempt was blocked. The ball then bounced to Adams, whose hurried shot at the buzzer fell short.
"There was no way they were going to win the game in overtime," says Gibson. "It was like a funeral in the Arizona section. The rollercoaster ride of emotions was really draining. I was almost hoping that it wouldn't be close so that the flight home wouldn't be full of what-ifs."
Arizona almost obliged him, falling behind by six before rallying back to cut it to one. They even had the ball for the last shot, but the planned play fell apart, and Adams' off-balance shot at the buzzer clanged off the board and side of the rim, sending the arena into a riotous celebration.
All over Tucson, fans quietly staggered out of sports bars in a daze, too disciplined to light cars on fire over anything other than a loss in the final game.
Gustafson, taking a cue from the aversion-therapy scene in Clockwork Orange, will forever associate the awful feeling with the task that was before her at the time and may foreswear math or homework or both.
Miles Simon immediately felt badly for Frye and Stoudamire. "No matter how many games those guys play in the pros, their last college game will have ended like a nightmare. There's no getting around that."
Eight months have passed since that game, and a new Wildcats basketball season is upon us. Even without Frye and Stoudamire, now playing in the NBA for New York and Atlanta, respectively, the Cats are ranked as high as No. 6 in the nation and are again favored by many to win the Pac-10 title. It remains to be seen what impact, if any, the Illinois game will have on this season.
The fans have returned, as they always do. Bill Gibson says he can't get that game out of his mind. He says that the only good thing about it is that he'll always have a real quick answer when anybody asks him to name the most painful loss he's ever witnessed. He says he'll probably remember it on an equal level with the '97 championship.
Miles Simon quotes the coaches' party line when he says that he doesn't think the game will have any lasting impact on this season or the program, in general. "I don't think the guys think about it all that much. We don't talk about it. It's in the past."
Hassan Adams initially concurs, saying, "I don't think about it a lot, almost never really. It was just a game. We learned from our mistakes, so now this year, we know what to do." But then he turns around and adds, "It definitely gives me a lot of motivation."
All of the adults agree that another national championship would be nice. Meanwhile, Nora says, "I was only 8 when they won (the national title). I'd like them to win a national championship so I could have a good game to remember."
To go along with the one that everyone would like to forget. | their rival's court in early rounds, holding to the ban in word but certainly not in spirit. Even then, such games are almost always played in the first two rounds of the tournament, when the nearly-home-court advantage isn't as much of a factor as, say, overwhelming physical and athletic superiority.
But this wasn't a first-round game. This was the NCAA quarterfinals, with the winner reaching the coveted Final Four. Fans from all over the country had sneered at the NCAA when it was announced that even if it reached the championship game, Illinois would never have to travel more than 100 miles or so for any game during the entire tournament.
All that seemed unimportant with 4:04 left in the game. Bill Gibson's ears had been ringing from the noise generated by 17,000 fans | 171 |
The Journal's Mike Shields reports that Yahoo's proprietary ad-buying platform, Yahoo Gemini, is starting to turn heads. Yahoo has been beefing up its targeting capabilities since debuting Gemini in February and hopes its focus on mobile will help its solution standout. Cadreon Global President Arun Kumar, for one, thinks Gemini is promising. "I think this is Yahoo's big play," he said. "It's picking up quite well in the market." The<|fim_middle|> of investors that also includes SoftBank, as the Chinese ecommerce giant looks to expand its global footing. The Indian ecommerce market is hot right now, mainly due to a rising population whose first point of contact with the Internet is increasingly mobile. As a result, mobile shopping in the region is booming. But time will tell if Snapdeal gives Alibaba the boost it's looking for to steal global market share from Amazon. Read on. | challenge for Yahoo now will be to build awareness among big marketers and agencies and integrate the offering fully into BrightRoll, the digital video ad tech firm Yahoo snapped up in November. Read more.
Facebook-owned Instagram has named 11 marketing partners to a new ads API, which recently went live. Those partners are 4C, Brand Networks, Ampush, Kenshoo, Laundry Service, Publicis-owned agency MediaVest, Nanigans, Olapic, Resolution Media, Salesforce, SocialCode, Social Moov and Unified. The news comes as Instagram embraces more of the data-driven ad approaches that have done so well on Facebook proper. Instagram made no comment on the new program, but back in June it said in a blog post, "Working with Facebook, we will enable advertisers to reach people on Instagram based on demographics and interests, as well as information businesses have about their own customers."
Twitter looked different to certain users in the US on Monday, as the company began experimenting with a "news tab." A Twitter spokesperson confirmed the trial phase in a statement to BuzzFeed, hailing it as an exercise in exploring new ways to surface content to users. BuzzFeed reporter Alex Kantrowitz writes, "Though no ads currently accompany this experiment, Twitter's News tab could have significant revenue implications for the company if it's implemented as a core platform feature." Can Twitter monetize the wires? More.
Messenger apps and keyboard extensions are giving rise to more visual, less text-based dialogue. The NYT profiles some of the emoji companies behind these add-ons, including Riffsy (which enables users to send GIFs via text) and Giphy (a library and search engine for GIFs). Both have raised money recently, but (surprise) neither has a meaningful revenue stream. Read on.
Writing for Medium, YouTube series star Hank Green alleges that Facebook's meteoric rise as a video platform obscures a certain deceitfulness around analytics. This partly has to do with Facebook's perspective on what makes a video viewable (three seconds of mute action). Green takes issue with Facebook's habit of letting users rip videos from YouTube and removing them only once views are logged. Content creators have been howling over Facebook's treatment for months, but Facebook has yet to respond. Read on.
India-based ecommerce startup Snapdeal raised $500 million, Re/code reports. Alibaba is among a group | 480 |
Hanging up our Jerseys | by Jay
If you're a regular reader, you've probably noticed the updates on BGS have been less and less frequent of late. Heck, that's an understatement: we've been MIA for over a month. As the season wound to a close and we entered into yet another coaching transition, Pat kept the lights on with the occasional update, but I and the other contributors haven't been blogging nearly as much as we used to. With the day-job priorities heating up (and my first baby on the way at the end of May) I haven't had nearly the time to devote to BGS as I had in the past. And Pat, Mike, Michael, Dylan, Jeff, Pete and Kevin are no less busy than I. It's with those bittersweet thoughts in mind that we think it's time to drop the curtain on the Blue-Gray Sky.
It's been a good run. When we started this endeavor, way back in the Winter of 2004, Tyrone Willingham had been fired, and Urban Meyer had just said "no thanks" to Notre Dame. Charlie was to be hired shortly thereafter, and we followed him diligently over these last five years. I think if BGS can claim anything, it's turned out to be a pretty comprehensive chronicle of the Charlie Weis era under the Dome. Over the last five years we've parsed the pressers, broken down the schemes, charted the recruiting, celebrated the victories, and mourned the losses. In the heyday of the blog, we were spending countless hours a week reading articles, brainstorming ideas, researching history and statistics, watching (and rewatching, and rewatching) games, corresponding with other bloggers and folks in the media, and writing and editing posts. One of our hallmarks was that we weren't afraid of the long-form post (or even the multi-post project, spread over several weeks). Maybe that was a way of getting out of having to post something every hour of the day, as many bloggers do it; but for us, the style seemed to fit. We took our time, polished things up, and when we were ready, hit that "post" button. It was a blast.
It's interesting to look back to that Winter of 2004. Eight years of mediocrity were capped by the controversial firing of Willingham, and many people -- including some of our own alums in the national media -- were proclaiming that Notre<|fim_middle|> that brought a unique perspective to the then yet-to-be-fully-birthed college football blogosphere. When we (and by "we" I mean "everyone but I") put out the "Four Plays" series of posts, I think we did something fairly unheard of, either on the internet or in print. That type of analysis simply wasn't done, and you would not have found a better breakdown of that game, be it in Sports Illustrated, Blue & Gold, or anywhere else. The pain comes from the knowledge that, once we close the movie deal, the part of "Dylan" will be played by Clint Howard.
One can't help, upon the closing of such a momentous chapter in the history of sport, to get a little nostalgic. Since our first post was published 92 years ago, much has changed. In 1918, only one in five Americans had ever ventured more than fifty miles from where he was born. Today, with 95% of Americans owning flying cars (as astutely predicted by BGS founding editor Milburn Talmadge in 1927), we are more mobile than ever, with the exception of Michiganders, whose range is limited by the inexorable sucking emanating from Ann Arbor. At the time we logged our millionth page view (July 16, 1925), Purdue had just undertaken the first of its four drum expansion projects and was beating on a fairly pedestrian four-foot percussive. On the day Notre Dame Stadium opened in 1930, Joe Paterno was still six months shy of his 50th birthday. He remembers it like it was 1948. That's my way of pointing out that Joe Paterno is old. Very, very old. Absurdly, implausibly old. There are vampires who yearn to live as long as Joe Paterno. Joe Paterno has opposable big toes. I'm talking Old.
The immensity of these changes makes the persistence of BGS all the more remarkable, and it is entirely attributable to the strength of our leadership over these many years. I think it's appropriate, if a bit self-congratulatory, to point to some of the landmark posts of our predecessors, to whom we all owe so much and without whom most Western thought, culture, and literature would simply not exist.
The most obvious example (I'm even a bit embarrassed to point it out, seeing as it's akin to belaboring Hans Makart's influence on Klimt, and no one likes a pedant), would be Talmadge's 1918 post during the doldrums of that year's coaching search. Talmadge wrote, prophetically:
"And who, at long last, will Father Cavanaugh choose to lead our foot-ball team? Who can countenance the weeks of inaction and flim-flam? This is balderdash! Were Father Cavanaugh the President of the United States, we'd only have the Eleven Points (two more than allowed by Harper's lads last fall)! What of the Turks then? No more of this namby-pamby capitulation of the type that leads inevitably to the stewardship of someone like Kanute Rockne. We must not doom ourselves to such vile gimmickry, flinging the pig-skin about the grid-iron like a band of unkempt Norsemen. Fiddlesticks!
Big shoes to fill, to be sure, but try we have. I don't think we, the current squatters, ever reached that lofty perch, with the possible exception of our 2007 season predictions, which were of similar historical value.
Among the other myriad posts which brought tears to grown men's eyes and put smiles on the faces of millions of children were Mitch McGonagle's 1928 epic (if brief) post on the evolution of helmet design, Richard "Deke" Zurbriggen's 1939 contextual analysis of the Winged T and the inevitable triumph of a global workers revolt and rising proletariat, and the enduring "Can Notre Dame Still compete?" posts of 1944, 1948, 1951, 1952, 1956, 1959, 1961, 1963, 1967, 1968, 1969, 1971, 1974, 1975, 1978, 1981, 1984, 1985, 1990, 1994, 1996, 1997, 1998, 1999, 2000, 2001, 2002, and 2003.
But the years have taken their toll on the old girl, and we at BGS have finally come to the conclusion that we simply lack the team speed to compete with the new new media. Now that we're at the point where ESPN anchors, supermodels, small dogs, and Father Sorin himself can speak to us directly through the micro-antennae surreptitiously (and probably illegally) placed in our fillings, the idea of using the internet for easy access to information seems positively quaint. I, for one, can barely keep up with the constant stream of text, images, voices, other peoples' thoughts, and the incessant singing of fishes. Those fish are crazy.
Posted by Dylan at 7:34 PM |
Statistically Speaking: 2009 Season | by Pat
When you have to fire your coach, digging into the stats to see what happened is a bit unnecessary. No one needs to look into a box score to understand that while ND's (passing) offense was excellent, the defense was horrendous, and the overall production of the team was not good enough for Charlie to keep his job.
Still, now that the bowl games are over and the final 2009 season stats are settled, it's worth finishing up the stat tables if only to provide a baseline of sorts as we head into the Kelly era and identify areas that need the most immediate improvement.
Battle for First Down
I started this metric because Tenuta stated that one of the goals of his defense was to win first down and force defenses into 2nd and long and 3rd and long situations. The metric was a bit of a trial run to see if the results in some way mirrored what we saw on the field. Well, we don't even need to look at the numbers to know the plan failed. ND's defense gave up more total yards per game in 2009 (397.8) than in any other season in ND history. It really was that bad.
The silver lining for number crunchers is that the metric sort of pointed this out, and in that sense might be something useful to re-use in the future. Here are the 2009 numbers. The overall win rate of 44% was a noticable drop from the 50% win rate last year. Both rushing defense (41%) and pass defense (48%) dropped from their 2008 season values (48% and 52%, respectively).
Going forward, a way to make this metric better would be to provide greater context by seeing how other teams, both good and bad, did. Another important area that wasn't reflected was the tendency of ND's defense to be boom or bust on 1st down. I mentioned it in a few previous game reviews, but it seemed that often when ND "lost" 1st down, they gave up not just 4 or 5 yards, but large chunks of yardage. It would be good to work these big play yards into the metric somehow. ND blog Clashmore Mike did capture the 1st down big play raw numbers for 2009 in their excellent 2009 stats review.
Notre Dame allowed 6.1 yards per snap on 350 first down plays with two or fewer yards surrendered on over 44 percent of these plays. However, 43.7 percent of first down plays generated five or more yards including 43 explosive gains. These big plays accounted for almost 50 percent of the total first down production for opposing teams.
Drivin'
The 2009 Drive Chart table is another metric that could benefit from more context. I know Football Outsiders delve deeper into drive efficiency numbers, so if you are interested in how these values help predict and explain football game, make sure to head over there.
As one might expect, ND's offense drive numbers jumped from 48% in 2008 to 55% in 2009. Remeber that the percentage is the percent of total available yards that the offense gained. A stat like this is a bit more insightful than total yards because it accounts for games when teams don't need to drive 90 yards every drive to score a touchdown. On the other hand, it doesn't highlight red zone TD conversion numbers, which was an area where ND was decidedly average in 2009.
Over on defense, the numbers predictably dropped. From holding teams to 40% of all available yards in 2008, ND's defense allowed teams to gain 48% of them in 2009. In other words, notice how the 7% gain on offense is negated by the 8% drop on defense and it's pretty easy to see why a 7-6 team in 2008 put out a nearly identical 6-6 record in 2009. As much as we improved on one side of the ball, we regressed that much on the other. Granted that is rather simplistic analysis and ignores a few other key stats, but the shoe fits in this case.
Gimme M.O.E.
One collection of stats that did give some insight into ND's red zone issues was the M.O.E. numbers for 2009. The numbers crept up from 2008, finishing the year right on the 12% mark that was the ideal high water mark for offensive errors. While Clausen's accuracy kept the interception numbers low, offensive penalties, sacks, and dropped passes kept the overall M.O.E. score higher than any coach would like to see. Most fans would agree that there were an unending stop of driving killing mistakes this year, especially as the team got close to the endzone. (If not for Tausch's stellar debut as field goal kicker, things could have been even uglier this season).
I also crunched the Weis-era M.O.E. for all games and added it as the final sheet on the spreadsheet. Perhaps not surprisingly, ND's overall M.O.E. the past 5 seasons was 13%. Granted, the awful 2007 season does skew the total a bit, but the high mark also is statistical proof of the critiques of lack of attention to detail and fundamentals that many made about the Charlie regime. As Brian Kelly is also an offensive minded coach, but one who has much greater experience teaching fundamentals to college aged players, it will be interesting to see how his offense do with regards to M.O.E. scores.
Season Long Running Stats
It's kind of amazing how crystal clear the overall 2009 season stats are about the performance of the 2009 Fighting Irish. Every single offensive statistical category, save one (sacks allowed), improved from 2008. Meanwhile, every single defensive category, save two (red zone and red zone TD defense) declined from 2008.
Depending on the side of the ball, the stats were either shooting up (65th in total offense to 8th overall) or in a free fall (22nd in pass efficiency defense to 82nd overall). Even the turnover and special teams stats fell along offensive/defensive lines as ND improved on turnovers committed on offense, but regressed in turnovers forced on defense while the kickoff and punt return numbers improved while the coverage teams regressed.
Here's to much better looking numbers in 2010, especially on the defensive side of the ball.
Nichols is number nineteen | by Pat
Recruiting took another quick turn when the second Kentucky player offered a scholarship to Notre Dame committed instantly and became the 19th member of the 2010 class. Offensive tackle Tate Nichols visited campus this past weekend and as soon as ND offered, he accepted.
"I didn't have a scholarship offer going up there," Nichols said. "They had a version of my highlight film that wasn't high quality. I brought another one, from my senior year. They really liked it and they offered me a scholarship.
"... I'm a Catholic kid and it's closer to home. It's a perfect fit."
The closer to home bit references Stanford, where Nichols previously had been committed. He had backed away slightly the past few weeks from his Cardinal verbal and decided to make a clean break this weekend. That makes Nichols the third recruit this year to switch from Stanford to Notre Dame (Badger, Jones).
Two of the three main recruiting sites considered Nichols a tight end recruit and as such didn't slot him very high. Both Scout and Rivals tabbed Nichols as a 2-star tight end recruit with Scout considering him the 52nd overall TE. ESPN did list him as an offensive lineman, giving him 3-stars, a 75 grade rating, and a ranking as the 101st overall offensive tackle recruit.
Update: These were his rankings on Saturday when he committed. Today, Tuesday morning, Scout has changed him to a 3-star offensive line prospect and the #71 overall OT recruit.
It seems the confusion over his future college position was somewhat warranted when the recruiting sites added him to their databases a year ago. Nichols originally committed to Stanford in March of 2009 as a 6'7" 230 pounder that was told he would get a shot at TE. Now though he's pushing 275 according to self reports and Tate has acknowledged that his future lies at offensive tackle. As he started to back away from his Stanford verbal, Illinois, North Carolina State, and Michigan started increase communications. Part of the increase in weight is due to Tate just continuing to grow. Part of it though appears to be the result of working with the same personal trainer that Kyle Rudolph (who is also distantly related to Nichols) used to get ready for college. Here's Tate's senior highlight tape that mainly still shows him as a tight end, but includes some examples of him blocking.
Despite the recent added weight, Nichols will still be a bit of a project as most of his time in high school was spent at tight end or defensive end. ND needed more linemen in this class though so assuming the overall OL numbers stay high (and ND is able to haul in at least another tackle prospect like Matt James) Nichols should have time to work in the weight room and learn how to play offensive tackle. College is filled with high school tight ends who turn into solid offensive tackles, so he certainly has a good shot at turning into a dependable player with a lot of hard work and solid coaching.
Speaking of overall numbers, here is how the offensive line depth chart breaks down for the 2010 season. With a new staff, new line coach, and plenty of guys who haven't seen much action, I'm not going to separate tackles from guards here. After spring ball we should have a better idea of where the new staff will slot them. Remember that players with an asterisk have an additional year of eligibility.
Hanging up our Jerseys
Untitled Huffhines | Dame was beyond salvaging; that the Irish would never again compete for a national champsionship; that, indeed, "the mystique [was] dead." Then, the rejection by Urban Meyer, a bitter pill that seemed to confirm our worst fears about the future of the program. Notre Dame was done.
Then Charlie walked in the door. He came in with bluster and bravado, saying, in effect [screw] that, we're not dead yet, Notre Dame can still compete. And I'm going to lead the charge. From today's vantage point looking back, Charlie's words might seem empty, nothing but a lot of talk and a badge. And he certainly didn't fulfill his early promises. But at the time, the attitude was critical. Charlie was a shot in the arm that was sorely needed. After being rebuffed and rejected and discounted by everyone, here was somebody -- one of our own, too -- who was willing to take that dead-end Notre Dame job, not make excuses, and try to turn this thing around. That five years later he's fallen short and been replaced doesn't mean we should turn those early statements against him. We were reeling, and his attitude and willingness to lead was exactly what we needed at the time.
If anything, Charlie proved that Notre Dame can still compete. He put the lie to the lazy, armchair conclusions about academic standards being too stringent, or that top-flight recruits wouldn't give South Bend a second look, or that Notre Dame could no longer go up against Southern Cal and Michigan and Florida and steal players out from under them. All of those built-in excuses that were proffered by Bob Davie, calcified via Willingham and lazily adopted by the blinkered national media (and much of their mouth-breathing readership) have been systematically disproven over the last five years. Can Notre Dame recruit? Notre Dame can recruit. Can it win? Notre Dame can win. No excuses, indeed. We can compete. We can win. Charlie might not have accomplished it, but he proved it possible. The failures of Charlie Weis are not endemic to Notre Dame. Today, when looking back on the Weis era, we hold him to his own standard, and can say that he did not get the job done; but proudly so, for without him, there might be no more standard.
For the Fighting Irish of 2010, it's a bit different. The foundation is set. We don't need someone to pull us out of the fire; we need someone who can take us over the top. Hopefully Brian Kelly will be that someone. As we close the book on BGS, Notre Dame is once again gearing up for a new beginning, another "return to glory" with the start of another spring practice. There is a lot to look forward to.
At the same time, the dreaded rumors of conference affiliation are making national headlines, and with every quote that drops from Jack Swarbrick's mouth, Irish fans get restless. Five years ago the media wondered if ND would ever be able to compete for a national championship again. Today, they wonder if Notre Dame would sacrifice its cherished and sacred independence for a slot in a conference somewhere. There could be big changes on the horizon. And it's tough not being able to continue this blog precisely because of all the exciting (and terrifying) possibilities that await Notre Dame Football over the next five years.
If you'll indulge us, we have a number of people to thank. Thanks to Sean P., Teds P., and Mark M., our co-founders and BGS bloggers emeritus; Fightinamish and Irishoutsider of The House Rock Built, and Kelly Green, two of the early Irish blogs who linked us and helped get us going; Spencer Hall of EDSBS, for helping spread the word beyond the Irish blogosphere in the early days of the blog; Warren St. John, author extraordinaire and an early fan of our work (buy his books!); Scott Eden, the author of Touchdown Jesus and the chronicler of the last days of Willingham, who graciously sat for an interview; Gina Vozinelek of Sport Literate, for allowing us to reprint her hilarious (and all too familiar) essay, A Special Reverence; Andy Staples and Stewart Mandel, who featured our work on SI.com; Bruins Nation, our brothers in arms against the Trojans; John Walters, Tiffany Simons and Matt Casey of NBC.com, who hosted us as a regular guest on their weekly ND show during the 2007 season (the season of our discontent); Brian D., for giving us the Blind Oracle of Bristol during the sturm und drang of 2007; Trace Hendrick, for putting together the annual Ticket Collage; T.J. Miles, Irish video archivist non pareil; Nevin O'Donnell, the finest highlight artist on the web; Marc Spitz, Matt Castellan, and Keith from Buckeye Commentary for their essential assistance in pulling together the Four Plays series; John Manier, for contributing a pair of fine posts on Southern Cal and UCLA; Jim Walsh and the rest of the crew at Maple Street Press; Jimmy Egan for lending his photoshop skills for the 2006 recruiting banner; Paul Manoguerra, for his excellent blog Classic Ground and his annual collaboration with BGS on the "Top 10 Plays" rundown; Mike Frank and the rest of the staff at Irish Sports Daily; Will Schmidt, for two of our most beloved posts, Uniformly Excellent and Veteran's Day; long-time reader Nate for his excellent Japan Bowl report; Photographer extraordinaire Andy Altenburger for the use of many of his photos throughout the years; Gerd, of the O-Zone, who contributed to our season previews; George Macor, for his invaluable ND games database; NDMSPaint, for the image of Golden Tate jumping into the MSU band; Golden Tate, for jumping into the MSU band; the Bad Notre Dame Daddy; Pete Thamel, who touted us on the New York Times; Terry Regan and John Schmidt, for their invaluable expertise with the Xs and Os; John L. Smith, for being himself; cfbstats.com, for providing a wellspring of college football stats you can't find anywhere else; Dan McConnell, for his account of the unbelievable bye week leading up to the '93 Florida State game; Alan W. of UND.com; John, Mike, Mike, and Scott, the proprietors of NDNation, without whom the blog would not exist and would not have been widely read by Irish fans everywhere; all of those countless amateur and professional photographers whose photos we used, mostly without attribution; Father Jenkins, for firing Ty Willingham, and inadvertently kicking off the idea to start a blog in the first place; and of course, thanks to all of the extremely friendly and knowledgeable BGS commenters, for being so warm, witty, and wise over the years. And if you're reading this, you probably know that there are plenty of other great Irish bloggers out there that ought to be part of your daily read: Her Loyal Sons, the Rakes of Mallow, Clashmore Mike, Keith Arnold at NBC.com, and many more. When we started, there were only a couple, but today the internet is chock full of great Irish blogs.
For our part, we intend to keep the archives here as long as the internet is around, so feel free to take a walk down memory lane whenever you like. There's some good stuff in there. And if you have any questions, comments, or if you just want to say hello and catch up, you can always drop us a line at the BGS mailbox.
Most of all, thanks to all readers of this site. It's been a real privilege to enjoy your readership, and it's frankly amazing the way the site grew. Back in December of '04, I was excited to have a few dozen people check out our scribblings. Five years later, we were topping fifteen thousand visitors a day, mostly due to word of mouth recommendations from all of you.
I was able to track down the very first email that started this blog. Around the beginning of December, 2004, I reached out to Pat and Dylan and Michael and a few other people, proposing a Notre Dame football "scrapbook" of sorts...
Got an idea. With all the craziness surrounding the football search (and the prospect of a very exciting football season-to-come), I thought it might be a good idea to try and preserve whatever pieces of interesting commentary we might come across as we watch the ongoing circus. I thought now would be a great opportunity to start something like this, as I really can't remember a more exciting and uncertain time in ND football...Oftentimes I find myself wanting to go back to something I read somewhere, or preserve a great post from a message board for future reference, or save a newspaper story that made a lot of sense at the time...maybe going forward we can save some of the gems in sort of a ND football 'scrapbook'...what do you think?
I think we accomplished our goal. Thanks for everything, folks. And go Irish.
(P.S. If you're interested, keep an eye on this space for details on how to order your own copy of the "Best of BGS". Details to follow.)
Posted by Jay at 10:22 PM |
Untitled Huffhines | by Dylan
This is the second-to-last post on BGS. I think it was Shakespeare, or maybe The Situation, who said, "Parting is such sweet sorrow." As the curtain is drawn on The Blue Gray Sky, the best sports blog on the internet (I can say this without being immodest since I had so little to do with it), I feel a curious mixture of joy and pain. Of sunshine and rain, if you will. The joy comes from being a part of a truly excellent outfit, one | 2,069 |
There are many great ways that you can save for a home, but we have put together a list of what we think are the eight best ways you can save for a house. Although we say these tips are for saving for a home, many of these tips can be used to save a lot of money for almost any purpose—a car, an RV, a vacation, paying off your debts or saving for your retirement. Many people find that once they have achieved their first goal, these strategies help them achieve their other financial goals as well. So they keep on following them. It all depends on how motivated you are to accomplish your financial goals. Here are our tips.
Saving for something important—like a home—is all about priorities. Do you go out to eat all the time, take expensive vacations, buy all the latest<|fim_middle|> your city has any sort of program like this to help first time home buyers. In the past, Winnipeg, Manitoba and Surrey, British Columbia have offered up to $20,000 per couple under these programs. The money is repaid without interest over a set number of years. | stuff and drive brand new cars? Or are you willing to tighten your belt and save for a house? It is up to you. Which is more important?
If saving for a home is one of your top priorities, then try to identify other areas where you can cut back so that you can put more money into your savings. The best way to identify areas to cut back in is to do a budget. If you haven't put together a budget yet, that is probably the best place to start. We can teach you how, click here to learn how to create a budget.
You can't really save money if you are paying a lot of interest to someone else. The first thing you should do is pay off all of your debts. Start with your smallest high interest debt, and pay it off. Then take the minimum payment from that debt and use it to help you pay off the next small debt that has the highest interest rate. Once you have that one paid off, the two minimum payments that you used to pay for those smaller debts can help you pay off your next debt faster (again, choose a small debt with a high interest rate). You will notice a snowball effect as the minimum payments you are freeing up help you to make larger and larger payments against one debt at a time. This is one of the fastest ways to pay off debt.
Studies show that when people pay for things with a credit card rather than cash, they spend around 15% more. For the average Canadian household that pays for everything with credit in order to get points or cash back, they would save well over $3,000 per year if they paid with cash instead. Sure they'd lose their points or cash back, but on the best cash back cards in Canada they would only be giving up $400. They'd still be walking away with a big win.
Your spending may not be as high as an average household, but you can see the point. If you're trying hard to save money, paying with cash can help you save more.
If you try to apply for a mortgage with too much consumer debt, you won't qualify. For most people to qualify for the house that they want, they usually have to pay down their credit card debts first. To learn more about what it takes to qualify for a mortgage, click here.
If you have a partner and you have two cars, consider getting rid of one. This can save you thousands of dollars per year. You can move closer to where you work or where your partner works. You or your partner can look at walking, take transit (80% cheaper than owning a car), car pooling or even cycling to work (weather permitting). If you can make this work, you can potentially save one car payment every month, plus gas, maintenance and insurance. This adds up $9,000 per year for the average person. Even if you spend less than average, you're still looking at some big savings. Try to bank all of this money if you can. If you don't want to go cold turkey on this idea, try parking your car for a couple of months first to see if it works for you. Then sell your car once you see that it does work.
When you get a raise at work, take that extra money and save it in a separate savings account. It may not seem like much, but it will add up. Also try saving bonuses, extra sales commissions or tax refunds in your separate savings account.
Do you buy a lot of new books? Try the library. They have zillions of books that you can borrow for free.
Do you go out to a lot of movies? Try renting or sticking with cable. Some people are now even dropping their cable in favor of watching shows online. This works really well in the U.S., but it is getting better in Canada.
Do you eat out a lot? Try eating out less or look for cheaper places to eat that you still like. You can also look for 2 for 1 coupons or buy an Entertainment Book and only eat at the places that have coupons (this will cut your eating out budget in half).
Do you spend a lot of money on your hobbies? Try spending less or finding other hobbies that cost less—at least for a while.
Do you buy a lot of new clothes? Try sticking with your current wardrobe for a little longer, or selectively buy clothing items that coordinate with what you already have. This will allow you to put together more outfits with fewer clothes. When you buy your clothes, look for sales.
Do you take expensive vacations? Try something less expensive or closer to home.
Do you buy a lot of new music? Try listening to the radio more, borrow music from the library or buy a card to monitor how much you download (and then you get what you actually want to listen to!).
If you have a busy family, you can really save money if you eat at home more often (and this includes buying less snacks and drinks on the run), and look for fun things to do around your community that are free or don't cost very much. If you go to the movies a lot, try renting. If you rent a lot, you could save even more by checking out the library. Many libraries have videos you can borrow for free. This option is really great for kids.
If you are able to work some of these changes into your lifestyle, you will definitely save money. However, the key to saving money is to resist the temptation to spend it on something else right away, and to start considering the cheaper alternatives.
You can withdraw up to $25,000 from your RRSP to buy your first home. This is a great way to come up with a down payment if you already have some RRSPs. If you don't, this may be a good way to save money for your RRSP and at the same time get a tax credit to help reduce your taxes. The only catch to this program is that you have to pay the money back to your RRSP within 15 years. If you don't repay the money, it is treated as income and you will have to pay tax on the money you withdrew as though it were income. Check with your financial planner or advisor to see if this option is right for you.
The Tax Free Savings Account can also be a great place to save your down payment money. The money can grow tax free in this account. This means you won't have to pay income tax on the money you earn as it grows in this account. Consult with your financial planner or advisor.
From time to time some cities have programs where they provide new home buyers with part of their down payment for their first home as an interest free loan. Programs like this are usually initiated for two purposes: 1) to make it easier for first time home buyers to afford a home in an expensive city, and 2) to redevelop a part of the city that is struggling. These programs usually have very specific requirements. You can check with your city hall to see if | 1,438 |
MOUNTAIN VIEW, CA - June 5, 2014 -- ActivePrime is excited to announce our participation in the upcoming User Groups for Oracle CRM On Demand, being held in cities across the US this month.
Join us in June as we host technical round table discussions specific to CRM On Demand. Learn how to improve best practices and get the<|fim_middle|> to spend time with your peers.
Interested in attending? To find a user group in your area, contact us today.
Like what you see? Sign up for our quarterly newsletter today!
Pasadena, CA – September 18, 2008 – ActivePrime, Inc™, the leading supplier of CRM data quality solutions, announces today the availability of CleanEnter™ for Oracle® CRM On Demand. Embedded within the Oracle CRM On Demand user interface by ActivePrime, CleanEnter identifies possible duplicates in real time, facilitating new record creation and preventing duplicates from accidentally being created.
Pasadena, CA - January 16, 2007 – ActivePrime, Inc, the leading supplier of context independent data content, cleansing and standardization solutions announces today the release of CleanCRM™ Version 3.3 with support for Salesforce Winter `07 release, the Advanced Grouping option for Siebel CRM On Demand customers as well as performance and security enhancements. | latest tips and techniques by listening to case studies presented by joint ActivePrime and Oracle customers. Get a glimpse into the future by listening to the discussion of the CRM On Demand roadmap.
This is a terrific opportunity to meet other CRM On Demand administrators and learn from customers' case studies. Don't miss this chance | 61 |
BZ Transport was established in Slovenia in 2010. The company is engaged in the transportation of new and used cars from Europe. Director Slobodan Okosanović gives us some insights on his business and his experience with Continental's digital solutions. For him, key to success are the people they work with – and so far, both employees and business partners are happy with the Continental system.
For better and easier control, and above all for safety reasons. The advantages of the system are lower costs and higher safety. But we did not have any doubts about the system at the beginning. If I would doubt about it, I would not even mount it.
We always have accurate information available at all times. Even history is visible. The biggest benefit of the system is safety. If something happens with the tire it is easier to see whether this is due to improper air pressure or overheating. It is also easier to assess why there are failures.
How did ContiPressureCheck/ContiConnect help you to improve your business?
We had to carry out tire control every two months, but now this part is out. Control costs have been reduced, while control over tires has increased.
Drivers are really happy when they have CPC built into their vehicle, providing them with peace of mind regarding<|fim_middle|> prompt delivery of tires and also retread is available and we are planning it for the future.
I would like to commend the work and effort of the entire Continental team. | tires, so that they do not have to always control them. In this whole story, it is also important that you can always be sure that the one who was mounting the tires also inflated them properly.
Yes. Especially due to safety and accuracy of the data.
Good cooperation, but we are also extremely pleased with the advice from Continental.
How is Continental in general adding value to your business or contributing to your success - for example with tires, retread, services?
With tire quality, good organisation of logistics, | 103 |
Having drawn on local knowledge and private information for The Spy and on his own boyhood experiences for The Pioneers, it was inevitable that Cooper would seek a way to convert yet another area of his special knowledge into art. His first choice of career had been the U.S. Navy, in which he served as<|fim_middle|> Introduction. | a midshipman from 1808 to 1810.
In 1823, Cooper began writing The Pilot, which he saw as a sea novel that seamen would appreciate for its fidelity and yet one that landsmen could understand.
"Cooper's poetic power is reserved for the sea, which is no backdrop but a separate world with forces and laws of its own. The individuation of the ships, particularly the personification of the Ariel, contributes to the magic, but the exhilaration of the book comes from the triumph of human skill and intelligence over the uncertainties and downright hostilities of a world of waves, winds, and hidden reefs. The land offers neither a comparable challenge nor so heady a victory." -- from the | 154 |
This is a healthier version of the gooey-rich sticky toffee pudding recipe served in the winter at Joanne Chang's Asian restaurant Myers+Chang in Boston. Lightly sweetened with maple syrup, the cake is chock-full of rich, naturally sweet dates. Adapted from Baking with Less Sugar by Joanne Chang (Chronicle Books, 2015).
Preheat oven to 350°F. Butter and flour an 8-inch round cake pan and line the bottom with parchment paper.
Place dates and baking soda in a small bowl; add hot water and stir to dissolve the soda. Let sit, stirring occasionally, for 10 to 15 minutes to soften the dates.
Transfer the date mixture to a food processor or blender and process until smooth. Add whole-wheat flour, all-purpose flour, 3 tablespoons maple syrup, vanilla, baking powder and salt; process until well mixed. Add 4 tablespoons melted cooled butter and eggs; process until well mixed. Pour the batter into the prepared pan.
Bake the cake until it is golden brown and springs back when you press it in the center, 25 to 35 minutes.
To prepare maple sauce: Whisk butter and syrup in a medium bowl until well combined. Slowly<|fim_middle|>. It reminded me of the Blondie with maple sauce that they used to serve at Applebee's. my husband and I enjoyed it! | whisk in cream. Let stand at room temperature as the cake bakes.
Place the cake pan on a wire rack. Spread about a third of the maple sauce over the cake. Let cool completely.
To serve, line a plate with parchment paper. Invert the cooled cake onto the parchment, then quickly invert it right-side up onto a serving plate. Serve with the remaining maple sauce.
To make ahead: Refrigerate sauce (Step 5) for up to 1 week; gently reheat by submerging the container in a bowl of warm water.
This was delicious and I will make it again. It was a small cake which satisfied my sweet tooth! I poked holes in it, so that some of the sauce would be absorbed | 150 |
San Angelo Cornerstone girls win TAPPS state hoops championship
San Angelo Standard-Times
San Angelo Cornerstone Christian School won a girls basketball state championship Saturday in College Station.
The Lady Lions defeated Wichita Falls Christ Academy 35-27 to win their first state championship as a member of the Texas Association of Private and Parochial Schools (TAPPS).
It was the ninth overall state<|fim_middle|> quarter.
The Lady Lions finish their season with a 14-7 record. They were undefeated district champs and then won four playoff games after getting a first-round bye to open the TAPPS Class 1A playoffs.
The four-win run in the postseason was in doubt when the playoffs started.
"It's been a difficult season," Bird said. "I lost two of my starters right as we are getting into the playoffs. That's always difficult. You've got to adjust to players being in different roles and sometimes players aren't used to playing as many minutes."
The Lady Lions also had to find a way to beat district opponent Fredericksburg Heritage a third time to make it to Saturday's title game.
Bird said the fact that her team is so well-rounded kept Heritage guessing in the semifinals and also played out in the championship game.
"That's the beauty of this team, I've only had one other team that was so well-rounded," the coach said. "When you look at their stats, it's pretty even, across the board. So that's very helpful when you play. If you aren't doing it with your inside game, you can do it outside and vice versa."
Freshman Grace DeLaughter led the Lady Lions with 13 points against Wichita Falls Christ.
Abbie Harrison had seven points for Cornerstone while Rylie Clements finished with six. Both are sophomores.
Cornerstone graduates just one senior, Hannah Robinson, from the roster.
"We are a young team, for sure," Bird said.
TAPPS Girls Basketball
Cornerstone Christian School 35,
Wichita Falls Christ Academy 27
WFCA 10 5 8 4—27
Cornerstone 10 9 5 11—35
WFCA: Addy Pira 0 0-0 0, B. Lane 5 0-0 10, H. Carnes 1 0-0 2, L. Franks 0 0-0 0, K. Wilson 6 2-4 14, S. Rouillard 0 1-2 1, Totals 12 3-6 27.
Cornerstone: Hannah Robinson 0 0-1 0, Piper Bodden 2 0-0 5, Grace DeLaughter 5 0-0 13, Abbie Harrison 3 0-0 7, Rylie Clements 1 4-4 6, Jessica DeLaughter 2 0-2 4, Totals 13 4-7 35.
3-point goals: WFCA 0, Cornerstone 5 (G. DeLaughter 3, Bodden, Harrison). Total fouls: WFCA 14, Cornerstone 11. | championship for the Lady Lions, who won eight state titles when they competed in the Texas Christian Athletic League.
Since the move to TAPPS, it's been a long climb back to a state title, according to head coach Lora Bird.
Bird, who has been at Cornerstone for 20 years, was an assistant coach on the TCAL teams but was the head coach for all the seasons since the school joined TAPPS.
In 2017, the Lady Lions lost by four points in the TAPPS state semifinal.
This year, Cornerstone conquered the state semis and went one better in claiming the state title.
"To come into this game has been a blessing," Bird said. "We were only ahead by four (points) at the half and just to have the composure and really dig deep and play hard all the way through, with good strong defense, ended up with a victory for us at the end."
Cornerstone led 19-15 at halftime and then held its opponent to just 12 points the rest of the way to claim victory. The Lady Lions outscored the Lady Warriors 11-4 to pull away in the fourth | 244 |
Joe Gibbs William Byron Chase Elliott Kevin Harvick Denny Hamlin Jimmie Johnson Kyle Busch Daniel Suarez Alex Bowman Sports Automobile racing NASCAR
William Byron Chase Elliott Kevin Harvick Denny Hamlin Jimmie Johnson Kyle Busch Daniel Suarez Alex Bowman
Johnson looking for old Cup result in Texas to end drought
By STEPHEN HAWKINS - Mar. 30, 2019 04:43 PM EDT
Jimmie Johnson drives across the start-finish line during qualifying for the NASCAR Cup Series auto race at Texas Motor Speedway in Fort Worth, Texas, Friday, March 29, 2019. (AP Photo/LM Otero)
FORT WORTH, Texas (AP) — Maybe Jimmie Johnson can do something old at Texas, and get back into Victory Lane.
"I think the term 'new' is the thing that has hurt us the most this year. We know and acknowledge that what we were trying last year didn't work," Johnson said. "Us trying new things and not having a past history with these setups, and honestly searching for greatness and to get an advantage. In some respects maybe we've been a little aggressive in trying to start the year."
With his career-long winless streak at 65 races since a win at Dover in June 2017, Johnson is the polesitter in his No. 48 Chevrolet Camaro for Sunday's race at the 1½-mile Texas track where he is a seven-time winner. It is his first pole anywhere since 2016, the season he won the last of his seven NASCAR Cup championships.
And maybe this will be the first race of 2019 that someone wins other than a driver from Joe Gibbs Racing or Team Penske, though one of them won both lower-series races at Texas this weekend. Each of those teams won three of the first six Cup races.
Gibbs driver Kyle Busch will have a shot at a Texas tripleheader weekend sweep after winning both the Xfinity and Truck Series races. He completed such tripleheader sweeps at Bristol in 2010 and 2017. He had another shot earlier this season at his home track in Las Vegas, winning Xfinity and Truck races before finishing third in the Cup race. He twice previously missed chances to sweep at the 1½-mile Texas track, in 2009 and 2014.
Johnson and his Hendrick Motorsports teammates William Byron and Chase Elliott are starting in the top three spots. Daniel Suarez qualified fourth for Stewart-Haas Racing, the team that last November in Texas had three of the top four starters and sent Kevin Harvick to Victory Lane.
"It's week to week. I think that everyone on the West Coast was kind of tied into however they built their cars it was done, and they were kind of stuck through the West Coast," JGR driver Denny Hamlin said. "But I think now this is the first mile-and-a-half we've had back where people have learned from the West Coast and made adjustments. Certainly, this weekend you can see a shift in cars that are fast that hadn't been in the past."
Hamlin, who won the opener at Daytona and has finished no worse than 11th this season, was the highest-qualifying Gibbs driver at Texas in sixth. He also had the fastest lap at 186.987 mph in the only practice Saturday, when temperatures were around 50 degrees — about 20 degrees cooler than Friday.
Johnson had the top practice speeds Friday, and led all three stages of qualifying to get the pole at 188.890 mph. He was fifth-fastest in practice Saturday at 186.047 mph.
This will be the 37th Cup race at Texas Motor Speedway since the track opened in 1997. It is the fifth since a total repave when Turns 1 and 2 were also reconfigured before the 2017 spring race that Johnson won.
Johnson last week finished 24th at Martinsville, where he got lapped during the second stage<|fim_middle|> of his wins at Texas. Both arms are raised into the air and the checkered flag is in his right hand.
Johnson's seven Cup wins are the most at Texas, four more than Busch, the next closest active driver. Johnson also holds track records with his 15 top-five finishes in his 30 starts, and 1,041 laps led.
After a tough start this season for the entire Hendrick team, having the top three qualifiers is a boost. The team's fourth driver, Alex Bowman, posted a lap during the first stage of qualifying that got him in the top 24 before he made hard contact with the wall and had to switch to a backup car.
"To have all three cars up there in the top three positions, and I think Alex would have been right there in the mix if he didn't have his troubles ... is saying a lot," Johnson said. "The work that went into these cars and the work that's gone into, honestly the last 36 months, and we're not out of the woods yet. But this is a very good weekend for us to really build on our 1½-mile program." | on the historic short track where he leads all active drivers with nine victories. He is 15th in season points, after finishing 14th last year for the worst showing in his 17 full Cup seasons so far.
"I had so much support on social media," the 43-year-old Johnson said in a sarcastic response. "There were so many nice people talking about me and how good of a driver I am and how young I am."
As he spoke, Johnson could see on the far wall a photo of him celebrating in Victory Lane one | 115 |
Showing results for tags 'obscure'.
The Game Recommendation Thread
Zombeaver posted a topic in Games
I thought it might be fun to have a thread dedicated to game recommendations; preferably for lesser-known titles that are worth people's attention. I'm not saying there's anything wrong with telling someone they<|fim_middle|> a good or bad thing is subjective, but it was certainly unique. I won't spoil the story, but it involves a downward spiral that leaves you questioning what to believe. It's highly atmospheric with a fantastic soundtrack reminiscent of a John Carpenter score. It's a very unique experience that's worth checking out! I'm curious what other people have in store for their recommendations!
lesser-known | should play Super Mario Bros. 3... just that they probably already know about Super Mario Bros. 3 Try to include at least a sentence or two about your recommendation and why you think it's worth checking out. I'm always on the lookout for new (old) games to try, so I'm curious what people have to suggest. Here are a couple lesser-known DOS titles to get us started: Betrayal at Krondor Platform: DOS I've talked a bit about this game before. This is one of my all-time favorite PC RPGs. This would definitely be in my "desert island" pile. The things that really set this game apart for me are the world-building and writing. You'll find few games that are as completely packed with lore and a sense of well-realized history as Betrayal at Krondor. Nearly every object in the game can be examined via right-click, each with a bit of very well-written lore and history to establish the world you're in. The characters and story are interesting and memorable. The combat is a bit on the simplistic side, but it's unique at least. If you appreciate well-written fantasy, you'll probably dig this game. If you're a fan of the writings of Raymond E Feist, upon which the game is based, you'll enjoy it even more. Personally, I was motivated to read some of his novels as result of this game. One interesting thing on that point is that Feist's book "Krondor: The Betrayal" was written after and inspired by the game - not the other way around, which should probably tell you something in and of itself. "The book, based on the game, based on the books" Dreamweb Platform: DOS I think that oftentimes when people think about point-and-click adventure games, a couple of specific developers come to mind - Lucasarts and Sierra primarily. Part and parcel with those developers is the presence of humor (in general, anyway). One of the first things I noticed about DreamWeb was just how dark and distinctly serious it was by comparison to so many other adventure games I had played at the time. Whether that's | 441 |
Alvaro Deprit | Suspension
PRIVATE27 April 2012
PRIVATE 56, p. 68
Buy PRIVATE 56 [T]his work aims to focus on a special moment when past and future lives of the inhabitants of a community 'house' are suspended. A shift in focus as tensions and expectations of life are 'thrown into the world'. The inhabitants of the 'House' are immigrants from<|fim_middle|>. All of them can be considered to be survivors facing a journey that has its final phase at the very limits of human possibilities.
Now they are in the 'House', they are suspended between two worlds in time and space, their lives on hold as they wait for what will come next. The 'House' welcomes them and protects them, and that is the place where they find a new dimension and a peace of mind that they never had before. However, even in this environment, a sense of uncertainty still lingers.
(Alvaro Deprit | Suspension, PRIVATE 56, pages 68-71)
> Buy/Gift PRIVATE 56
Alvaro Deprit Italy OnOff Picture PRIVATE 56 school
Alessandro Rota | A Neocolonialist's Diary
Alessandro Vincenzi | The Hidden School
Non ci sono che… | different continents, young people who have travelled thousands of miles risking their own lives as they run away from war, misery and precarious lives | 26 |
9°C SSW/19 kts
Malinwaters Blog
Set Sail in North Ayrshire and discover true island gems
As the new sailing season begins, North Ayrshire is securing its status as one of the top sailing destinations in the UK with the opening of 26 more moorings around its popular islands of Arran and Great Cumbrae. And the message to Irish sailors is clear - come on over and experience world class sailing and the warm hospitality of our island communities.
Situated on the Clyde Estuary, North Ayrshire is unrivalled as a quality sailing<|fim_middle|>MalinWaters MalinWaters
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Privacy Policy | Site Map | © MalinWaters 2015 | destination, with sheltered waters, breathtaking scenery and superb facilities. Attracting sailors from all over Britain, Western Europe and America, it offers a mix of opportunities for novices and world-travelled yachtsmen alike. Now, following funding from the Big Lottery Coastal Communities Fund and North Ayrshire Council (NAC), there are almost 70 moorings at Millport and five villages on Arran, making it easy for visiting sailors to step ashore and experience the superb local produce and local tourist facilities.
"North Ayrshire is regarded by many as offering some of the best sailing in Europe, with a spectacular coastline stretching from Irvine to Largs and vast, uncrowded waters," says North Ayrshire Council, Head of Connected Communities Audrey Sutton.
"But it's the allure of the isles, with their hidden coves and abundant wildlife which proves irresistible to many. The new moorings project was initiated by consumer demand and has been brought to life following joint working from North Ayrshire Council, VisitArran and Cumbrae Community Development Group. We look forward to welcoming new and old friends from across the Irish Sea to experience and enjoy our facilities and local attractions."
Known as 'Scotland in Miniature', Arran offers visitors a mix of mountains, wildlife, outdoor activities, heritage, craft and, of course, whisky. With its 10 mile coastline, Cumbrae is most famous as 'the cycle island'. A popular seaside resort, it provides a traditional island experience with great local food, wildlife and award winning sandy beaches. Its easy accessibility helps it attract yachts from all over Europe and beyond.
For more information visit on sailing facilities, suggested itineraries and local tourist information, visit www.setsail-northayrshire.co.uk
| 366 |
Renee Brooks Catacalos knows a thing or two about local food. She served as the deputy director of Future Harvest-Chesapeake Alliance for Sustainable Agriculture, published and wrote for Edible Chesapeake magazine from 2006 to 2009, and has eaten almost exclusively locally for over a decade.
Her first book, The Chesapeake Table: Your Guide to Eating Local, will be released in October and outlines why she's been hooked on the local food movement from the start, which foods you can only find in the Chesapeake region, and how you can benefit from the fruits—literally and figuratively—of local farmers' labors.
You've been working with local food for years now. Where did you start?
My interest in local food started as a consumer, actually. I'd lived abroad in my twenties in places where eating local is pretty common, but when I moved back to DC in 2001, farmers markets and "eat local" campaigns were really starting to take off. I was a little skeptical at first, but I found that shopping and eating locally was a lot of fun. It was so interesting to find out where the food comes from and talk to the suppliers about how they grow and care for it all, and it all tasted incredible, like noticeably more flavorful than food from a lot of grocery stores.
In addition to taste, what are some other benefits of eating locally?
There are so many! The health and environmental benefits are some of the most important for me, because when you buy locally grown food, especially meat, you're choosing not to support industrial farms that use a lot of toxic chemicals. There are even socioeconomic benefits. Right now, eating locally is a little more expensive, but in order to allow a broader range of people access to healthier, seasonal,<|fim_middle|> to support the local food industry that a lot of other cities don't have yet. In the past decade, the city has started to put money toward funding local farmers, and that's legitimized that system in both a symbolic and a tangible way. Also, because of its size and diversity, both in the foods that are sold and the people that buy them, the Baltimore Farmers' Market is one of the best I've ever been to, and I've been to a lot.
You're from D.C., but do you have favorite places around Baltimore to eat local food?
Well, of course, I love Woodberry Kitchen and Gertrude's, but farm-to-table doesn't have to refer to that new American kind of food. Ananda in Howard County is an Indian resturant, and they have their own garden. There's also a great website called Chesapeake Farm to Table that's run by of Calvert's Gift Farm in Sparks, and it lists a bunch of restaurants around Baltimore that source their food straight from that farm.
The term "farm-to-table" is everywhere now. How do you distinguish what's legitimate?
The farm-to-table claims can get so ridiculous! I've seen peach gummy candy—obviously not farm-to-table since it's entirely chemicals—labeled as "locally sourced." A good way to know for sure is just to ask. If restaurants are serving local food, they should easily be able to tell you where the ingredients came from.
Unfortunately for Baltimoreans, most crab cakes are not made entirely with local blue crabs, so if you want something that you can know for sure is straight from the bay, buy crabs in the shell, in their whole, full glory. They taste so much fresher, and then you know exactly what you're eating because you can see it.
Why is now the right time for this book?
Anniversaries are definitely times to reflect, and it had been about 10 years since I'd gotten into local eating when I came up with the idea for The Chesapeake Table. I started doing a lot of research and thinking a lot about what had changed in the decade, especially as I left the industry and began to look at things as a consumer.
I really am committed to the local food system, and I wanted to contribute something to it that would help it grow. I'm not reinventing the wheel. I'm just bringing light to how much work people are doing to bring local food to people's dinner tables, and I'm trying to show people that even the tiniest things can make a big difference.
Cydney Hayes is an editorial intern at Baltimore and a rising senior at the Medill School of Journalism at Northwestern University. She currently writes for Reverberations, an online literary nonfiction magazine, and will head home to Los Angeles in the fall to work at Entertainment Weekly. | well-raised food, we have to buy it so that it's economically viable for the farmers to continue making it and eventually lower the prices.
Giving up the convenience of going to the nearest supermarket and eating largely locally grown food can seem daunting.
Yeah, lots of people are definitely daunted by it beforehand, mostly because they feel like they don't have the time, the know-how, or the money to do it. But it's really like any other food-specific commitment, like being a vegetarian, or a vegan, or kosher, or gluten-free, except this one doesn't have to be all or nothing. Even if you just get to the farmers' market once a month to buy a box of peaches or if you know the grocery store stocks local honey, that's a great place to start.
What does The Chesapeake Table bring to the conversation about local food?
One of my biggest frustrations with other books on local food is that so many of them take a really broad, national viewpoint, and that's hard to translate into a real game plan for consumers. That's why I wanted to take this regional focus and be much more specific about the Chesapeake region, because there is so much the Chesapeake offers us in terms of local food. My book also comes from a consumer perspective, which is sort of rare. I don't work directly in the industry anymore, and it's hard to balance a job that is not related to food with trying to shop and cook and support the local food system, but it gave me a unique perspective.
This book isn't everything you'll ever need to know about local food, but I thought it could give people a good starting point with information about the local food system and the Chesapeake region, and hopefully it'll prime them to keep learning on their own.
So why is the Chesapeake such a great place to eat locally?
I don't think people appreciate how special the Chesapeake Bay actually is. Because it's a mix of salt and fresh water, it creates such a fertile place where so many kinds of food can thrive. The seafood, of course, is the sweetest and the biggest because they put on fat during cold winters, and because this climate gets four distinct seasons, we get this extensive range of seasonal produce. Basically, we have anything except tropical foods. You can source almost a complete diet from this region.
Baltimore has a level of infrastructure | 487 |
Det utdanningsvitenskapelige fakultet
Institutt for pedagogikk
University Civic Engagement in Forced Migration: A Comparative Case Study on University Support Programs for Migrants and Asylum Seekers in Norway and the UK
Araos Moya, Andres Arturo
Masters_Thesis_Andres_Araos.pdf (1.387Mb)
http://urn.nb.no/URN:NBN:no-63439
Show metadata
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Institutt for pedagogikk [1690]
This study aims at to address the problem of understanding how the University of Oslo (UiO) and the Kings College of London (KCL) support refugees through their respective programs: the Academic Dugnad and Sanctuary. To do so, the first step was to structure a conceptual framework based on the idea that university civic engagement (UCE) can be conceptualized as a network. By using value network theory, UCE was described as a network of value exchanges that was characterized by the actors involved, engagement<|fim_middle|> civic organizations and other universities outside the country. The study also argues for an important role of higher education in the integration of refugees, especially in their acculturation, economic success and access to different forms of social capital. | activities, and the different forms of value that were exchanged. That way, the involvement of universities in societal problems can be related to not only the mechanisms, through which they contribute, but also to the political economic context and the idea of refugee integration. Qualitative research was the research method used in this study. The data was collected through document analysis and two interviews with the leaders of the programs that each university carried out. The sampling was purposive, as this study was limited to a scope focused on the decisions taken at the strategic level rather than in describing the cases from all the possible angles. The findings of this study revealed a complex set of institutional interactions that characterized the relationship between universities and their external environment, for the case of refugee support programs. In both cases, the process of relating with society implied first and foremost the administrative and strategic efforts to link the traditional activities of the university in a useful way to the solving of the social problematic of the refugee crisis. Nevertheless, that process was always limited to certain internal values and norms, as academic research and admission to university were processes that were not used in an instrumental way. On the other hand, although both programs presented similar forms of UCE, the interactions that characterize them were conditioned by the political economic context. While in the Academic Dugnad several actors from government agencies cooperated with UiO, in the Sanctuary program the university acted rather alone, although cooperating | 283 |
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It is easier than ever to get new DISH service in your home today with our online ordering system. In a hurry? Order DISH today quicker with our online ordering page. By ordering your new TV service online, you can feel safe and secure with our protected order form. Our online ordering tool provides you with a hassle-free shopping experience. Our website is up 24/7 which means you can order DISH whenever you want, 24/7. Feel free to use your smart phone or tablet to order new satellite TV service from DISH via our online order page | 776 |
R. WHITNEY
The U.S. Navy In Review
By Scott C. Truver
Tragedy and triumph . . . two words that sum up 1996 for the U.S. Navy-a year in which the Navy lost two Chiefs of Naval<|fim_middle|>T Roger Ekman, USN (Ret.) | Operations and struggled to maintain readiness and meet increasing commitments worldwide in the face of decreasing resources and growing uncertainty at home.
As the new year dawned, age finally overtook Admiral Arleigh Burke. A sailor's sailor and three-term CNO, the 94-year old "31-Knot" Burke more than any other individual brought the Navy out of the apprehension and anomie of the early post-World War II years and helped shape the service for the nuclear age. His indomitable warfighting spirit and commitment to personal and professional excellence inspired the Navy's men and women about the true meaning of principled service to the nation.
Scott Truver
Digital Proceedings content made possible by a gift from CAP | 146 |
DRI Pakistan Launches<|fim_middle|> for easy access. | Election Guide for the 2018 General Elections
available languages: english July 9, 2018
The highly anticipated general elections in Pakistan are scheduled to be held on 25th July 2018. A few weeks before the elections, DRI with support of the United Nations Development Programme (UNDP), launched the "Election Guide, All You Need to Know for Pakistan's 2018 General Elections" on 5th July 2018 in Islamabad, Pakistan.
The event was organised to promote stakeholder awareness of the electoral framework in Pakistan and to facilitate the work of domestic and international observers, the media and civil society, by providing access to the Elections Guide. More than 75 members from civil society, including journalists, political party representatives, and members of the EU election observer mission, attended the event.
Speaking at the occasion, DRI Pakistan's Country Representative, Mr. Javed Malik, said:
"The Elections Guide provides an up-to-date summary of key features of the electoral framework in Pakistan. The Guide is based on improvements made in the legal framework through the Elections Act 2017, which is an outcome of long and multi-partisan efforts aimed at electoral reforms. It is DRI's hope that the information provided by the Election Guide will help facilitate and inform a useful discussion about the electoral process in Pakistan. There is every reason to be hopeful that the Election Commission will succeed in the delivery of well organized and fair elections. They already have made excellent arrangements. Now is the time to deliver on these well intended efforts, and we hope the Election Guide will assist all stakeholders to achieve just that."
UNDP's Chief Technical Advisor, Mr. Darren Nance, while addressing participants, added:
"We note the positive initiatives the Election Commission of Pakistan have undertaken to bolster inclusion, access and transparency in the electoral process. We hope this Election Guide serves as a clearing house of information and repository for research on Pakistan's electoral process."
The Guide consistently refers to both international standards and Pakistan's regulatory framework for all phases of the electoral cycle. It also provides sources of further information to equip stakeholders with detailed knowledge regarding the different aspects of the electoral cycle in Pakistan. Information on caretaker governments, electoral roll, delimitation, electoral dispute resolution, and election security is also provided.
Following the lead of the Election Commission of Pakistan's endeavours to increase participation of marginalised groups in the electoral process, participation of women, minorities and persons with disabilities is given special attention within the Guide. The important role of journalists is catered to with tips for media reporting and issues for consideration while covering the General Elections 2018 in Pakistan.
The Elections Guide, in both English and Urdu, is supplemented with a mobile application, 'Elections Guide 2018' (both Android and IOS), along with a website | 585 |
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August 13, 2<|fim_middle|>EnglishFrenchHaitian CreoleSpanish | 019 August 13, 2019 Pure Water for the World
WASH Success in Solimar de Zepeda
Solimar de Zepeda is a community located in the rural region of Trojes, Honduras. The staff at the local school, Eufemia and Dora, worried about the water and sanitation issues in their community, especially in the school. They reached out to Pure Water for the World for help.
The PWW team presented the request to the Edmond Day Breaker Rotary Club and their District 5030, and the clubs set forth efforts to raise funds to bring a comprehensive WASH (water, sanitation and hygiene) program to this community.
The teachers and greater community were anxious to receive the project. Their hope escalated when Pure Water for the World came to visit the community to conduct the baseline survey in November 2018, visiting every household.
The aim of the baseline survey is to evaluate the needs of the families and community with regard to water, sanitation and hygiene. Collecting the baseline data provided more evidence to support the high needs that the community of Solimar was experiencing.
On the May 14th, 2019, the PWW team officially began its implementation work in Solimar. The project began with socialization, introducing the BioSand filter project to the community and talking about the 4-way test of Rotary (learn more).
Following the socialization, the people of Solimar participated in three different trainings; one focused on safe and healthy household hygiene, one sharing information about the importance of menstrual hygiene, and one covering environmental conservation. Community Agents were also trained, learning details about the BioSand filter, including proper implementation and maintenance techniques.
Following the trainings, all 37 households received their BioSand water filters. The installation of filters in all homes was completed on June 12th.
To conclude the BioSand filter project, the families received another training by the PWW team focused on personal hygiene, then everyone received deworming pills to help remove any current pathogens from their systems.
The 15 Community Agents are now in charge of supervising the filters. The PWW team will visit the community, again, to make sure families are properly managing and using their filters and that they are experiencing positive health results. The PWW team will also continue to work with Community Agents to deal with any problems that they may encounter and to answer any questions .
In addition to the water filters, 16 households also benefited from a latrine project. For these homes, the families were selected according to need. As the majority of homes already had a washable latrine, PWW supported those who did not have a safe place to use the bathroom. This helps to significantly reduce the risk of fecal contamination both in the home and in the greater community.
In addition to the WASH program for the homes, the school of Solimar, called Jaime Alonzo Rivera, also benefited from the WASH project.
As there was no water available at the school, the project included the construction of a piped water system, 1 km in length, that now brings water from a spring, up a mountain, and down to the school.
A sanitary block, including gender-specific latrines and a handwashing station, was built so that all students have a safe place to use the bathroom, wash hands, and manage menstruation needs when at school. Additionally, a BioSand water filter was installed at the school, so students now have safe water available at school.
Finally, the 48 students in Solimar received school uniforms, thanks to PWW's partnership with Tailored for Education.
"Before, there was no water available in the school to maintain the old latrines and keep them clean," says Dora, the school's teacher. "We had to send students to the closest house for them to do their necessities, but we felt bad about it. Now we have a functioning water system that brings us water from the source at any time of the day! We are also very excited to have the sanitary block, with the latrines and the handwashing station, for the children."
After waiting a long time, the people of Solimar were rewarded with a short project implementation time. They are deeply moved and very grateful. The teachers, who were very motivated to help all of the people, the adults and children of the community, are very thankful to Edmond Day Breaker Rotary Club and PWW for transforming their community.
"We [the teachers] are overjoyed for the community," says Eufemia, the school's director, "because the people of Solimar are all benefiting from this project, now enjoying full access to safe water and proper hygiene! Thank you so very much!"
WASH Success Stories #biosand filter, #clean water filter, #tailoredforeducation, Beneficiary Stories, Honduras, safe water, sanitation, WASH Success Stories. permalink.
Grateful Grandmother in Cité Soleil
PWW Team Member: Ronald Pierre
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Kent Quality Foods, Inc., manufacturer of franks and sausages, had a existing platform with grating stair treads that were not providing a safe working surface for employees as they accessed machinery and equipment on a daily basis. The oils, fats and greases from the franks and sausages constantly create a slick and dangerous walking surface for employees as they try to perform their daily duties and job responsibilities. Kent Quality Foods, Inc. also needed to retrofit their existing drain covers with a durable slip resistant solution.
Kent Quality Foods, Inc. contacted SlipNOT® Metal Safety Flooring in regards to their retrofitting needs within their facility. The existing slippery gr<|fim_middle|> grating treads and drain covers were coated with the non-slip Grade 2 stainless steel surface and shipped back to Kent Quality Foods, Inc. the next day.
SlipNOT® knows that down time is critical in any company, which is why retrofitting existing surfaces with the non slip product is an effective way to provide instant safety. The SlipNOT® slip resistant stainless steel surface not only provides durability and safety, but also allows for employees to be more efficient in their daily responsibilities and production.
The SlipNOT® coated platform, grating treads and drain covers are ensuring 100% shoe to surface contact, consistently allowing for a safe and sanitary working surface. | ating platforms, drain covers and grating treads were in good condition and did not need to be replaced. The material was sent to SlipNOT® to have the stainless steel slip resistant coating applied to the walking surfaces of each piece of flooring. The SlipNOT® stainless steel coating has been approved by NSF International for use in food processing facilities because of its ability to maintain a bacteria and contaminant free surface while maintaining slip resistance in all directions.
SlipNOT® Metal Safety Flooring strives to provide the best lead time possible. The customer supplied stainless steel grating platform, | 114 |
The presidential candidate raised $6.1 billion in 24 hours after announcing.
Co-hosts on "The View" weighed in on Democratic presidential candidate Beto O'Rourke after he backpedaled some remarks he made over the first weekend of his campaign run.
On Monday morning, Whoopi Goldberg, Abby Huntsman, Joy Behar, Sunny Hostin and Meghan McCain acknowledged O'Rourke's accomplishment of raising $6.1 million -- the most donations given to any 2020 candidate in the first 24 hours of a campaign up to this point -- but they questioned if the<|fim_middle|> Vanity Fair comment -- which he struggled to recall on Sunday, saying he doesn't "know that anyone is born for an office or a position" -- received mixed reviews from the public, including conservative co-host McCain. Noting she doesn't often throw around the term "white male privilege," she said she believed that's what O'Rourke's "born to" be the president comment conveyed.
"If Hillary or Kamala or anyone had been on the cover of Vanity Fair saying 'I was born to do this,' the media would be going insane right now," she said.
McCain continued to give presidential candidate Kamala Harris praise, saying her campaign "roll out was more seamless in a lot of different ways" than O'Rourke's, yet "she's not being given the same credit he is," exposing the gender "stigma in politics."
"It does seem like the media is giving [O'Rourke] more credit than he deserves."
O'Rourke also said this weekend he would like to put a woman vice presidential candidate on his ticket after a supporter voiced the need "to drive this country forward and put a woman on his ticket."
O'Rourke told the supporter "your point is taken" during the exchange while mentioning several times "it would be very presumptuous for me to talk about who I would select as vice present right now."
Goldberg -- who joined "The View" for the first time in over a month after battling a near-death case of pneumonia -- didn't skip a beat responding to O'Rourke's "preference," questioning what made him think a woman wants to be his vice president.
(Lorenzo Bevilaqua/ABC) Whoopi Goldberg, Abby Huntsman, Joy Behar, Sunny Hostin and Meghan McCain host ABC's, "The View," on March 18, 2019.
"Why would you think she needed you to do that?" she continued. "You have to be careful with privilege like that because things slip out your mouth."
"You can't assume that because you're good at fundraising you're going to be the person," she added.
Huntsman admitted she's "not the biggest fan" of O'Rourke at the moment, but believes "there are Democrats that think he has the sort of rockstar status similar to what Obama [had]."
"I think a lot of politics is about how they make you feel," she commented. "Do you vote for the person you like most, do you vote for the person you think can get through the primary, or do you vote for the person you don't love, but know that they are the one person who can probably beat Donald Trump in general election?"
"Maybe he could go up against Trump in a way different than other candidates," she added.
Hostin noted that it's "kind of interesting" that O'Rourke "seems to have this mass appeal" across all 50 states.
Prior to O'Rourke's surprising $6.1 million raised in one day, fellow presidential candidate Sen. Bernie Sanders held the 2020 fundraising record with $5.9 million. In addition to Sanders and O'Rourke, there are 13 other candidates in the overcrowded Democratic Party, not including potential candidate and former Vice President Joe Biden. | media should be more focused on his policies.
O'Rourke was featured on the cover of Vanity Fair along with a quote he said about the presidential race: "I want to be in it. Man, I'm just born to be in it."
His controversial | 52 |
Devils reward John Hynes with multi-year extension
By Joey AlfieriJan 3, 2019, 11:30 AM EST
The New Jersey Devils took care of some business on Thursday morning, as they handed head coach John Hynes a multi-year extension.
Hynes and general manager Ray Shero have done a remarkable job of resurrecting the Devils from the dead in just a short amount of time. When they took over in their respective roles in 2015, the state of the Devils franchise wasn't great. They had just come off a 13th place finish in the East and there wasn't much youth coming through the pipeline.
The Devils missed the playoffs in their first two seasons on the job (they finished last in the East in 2016-17), but things began changing around the organization at that point. The two biggest moves were trading for Taylor Hall and drafting Nico Hischier first overall. Those two acquisitions allowed the Devils to<|fim_middle|> the first round, but eventually fell in five games. Still, the future seemed bright.
This season, they've come back down to earth. Even though they're 13th in the East right now, it's hard to be down on a team that showed flashes just last season. They may have overachieved a little bit in 2017-18, but there's no denying that Hynes has pushed a lot of the right buttons since taking over behind the bench.
"John's leadership has been instrumental in building both culture and systems that are focused on the development of our players," Shero said in a release. "He has cultivated a group of veteran leaders, while helping our young players develop and gain experience. John is to be commended for the progress the team has made under his direction and this commitment shows that we are confident in the role he will play in our future success."
In less than four years on the job, Hynes has already become the second-winningest head coach in franchise history. And based on the organization's commitment to him, he'll have the chance to close the gap between himself (125 victories) and Jacques Lemaire (276).
Joey Alfieri is a writer for Pro Hockey Talk on NBC Sports. Drop him a line at phtblog@nbcsports.com or follow him on Twitter @joeyalfieri. | be one of the biggest surprises in the league last season. No one expected them to make the playoffs, but that's exactly what they did. They pushed the Tampa Bay Lightning in | 36 |
At Least Half of Legislatures Set to Have Veto-Proof Majorities
By Ben Williams | November 11, 2022
State Legislatures NewsElections
New York's is the one existing veto-proof majority that appears to have dissolved as Republicans gained seats in the Assembly.
At least half the nation's legislatures are on track to have veto-proof majorities next year, giving America's first branch of government more control than ever over policymaking.
State lawmaking mirrors the famous lesson from "Schoolhouse Rock!": Legislators introduce bills that move through committees and, if approved, go to the floor of both legislative chambers. If both chambers vote in favor of the bill, it goes to the governor for a signature or veto.
If the governor signs the bill, it becomes a law; but if he or she vetoes it, the legislature can override the veto and the bill still becomes law. The number of votes it takes to override a veto varies from a simple majority in each chamber to two-thirds of elected members in each chamber. When the majority-party caucus in both chambers exceeds that threshold, NCSL considers that party to have a "veto-proof" majority.
Just because a party has a veto-proof majority doesn't mean<|fim_middle|> majority to override a governor's veto is important because it transfers significant policymaking power to state lawmakers. | it uses it all the time, or at all.
Going into Election Day, 21 legislatures had such majorities: 15 for Republicans and six for Democrats. After the election, the majority parties retained control in at least 20, and new veto-proof majorities were likely to form in five more: Vermont, Delaware and Illinois for Democrats, and Florida and Ohio for Republicans. Votes are still being counted, but Republicans have a chance to pick up an additional veto-proof majority in Montana. One existing veto-proof majority in New York appears to have dissolved as Republicans gained seats in the Empire State's Assembly.
Just because a party has a veto-proof majority doesn't mean it uses it all the time, or at all. As any legislative leader would tell you, legislators are individuals who vote their conscience and their values, which may often—but not always—track with leaders' wishes. But even the potential for a legislative | 188 |
They do everything in their business. They ARE the business!!!
Anyone that's ever visited my blog before will know that I am a huge advocate of outsourcing and working with all the different types of virtual assistantsavailable, right now, at your arsenal.
However, from speaking with hundreds and hundreds of entrepreneurs over the last couple of years on the subject, the biggest reason why they procrastinate and not pull the trigger with outsourcing, is because they really don't have a clue what tasks they would outsource in the first place!
With this in mind, even though I've discussed working with virtual assistants before, I decided to put together this<|fim_middle|> add to this list? Go right ahead. Below! | post today to give you ALL a kickstart in the right direction – and that direction is a General VA. In case you've never worked with GVA's before, this is the one role that I suggest every entrepreneur fill's in their business, before any other.
NOTE: GVA's cannot handle tasks that would be taken care of by other types of virtual staff, such as web development and programming, graphic design, video and audio editing, content writing and SEO tasks.
However – the fact is that GVA's are a Godsend.
They help you 'buy more time' in your work day, alleviating entrepreneurial stress and allowing you to start working ON your business, instead of being trapped, working IN it, instead.
Here's a video version of the list, with a few more goodies thrown in!
Obviously, some of these tasks will require training, especially ones that involve the use of online tools. These are just some examples of the type of tasks someone in a General VA role can accomplish for you.
Use my '3 Lists to Freedom' exercise to create your own, personalized list!
The most important thing here is to realize that not everyone will be perfect at handling ALL of these tasks right out of the gate. It's silly (and a little ignorant!) to assume that one person will have experience handling all of these types of tasks.
However, I am here to tell you that I have seen GVA's handle all of these types of tasks with ease and confidence after some basic VA training, a little understanding and a slither of patience from their Virtual Bosses! So, be nice.
Have you outsourced these types of GVA tasks before? How'd it go? Got anything to | 346 |
Age of discovery
Published in PharmaTimes magazine - November 2017
George Underwood
Five years on from Pfizer selling Discovery Park, the site's current chief executive Toby Hunter tells PharmaTimes about the plans for its future
With around 150 companies working in 14 buildings over 440 acres, and several blockbuster drugs to its name (including Viagra, Zoloft and Lipitor), few sites can match Discovery Park's significance for the UK life science industry.
The multitude of companies working across the site is a sharp change from five years ago, when it was wholly owned by Pfizer. After the company sold the park in 2012, it was bought by entrepreneurs Trevor Cartner and Chris Musgrave, who then sold their shares to investment company Discovery Park Estates Limited last year. Discovery Park's new chief executive Toby Hunter says that the site's new owners are aiming to continue its growth with a focus on new lab space<|fim_middle|> site head] Julian Thompson in the canteen, so you can talk to them about their experiences and ask for their advice.
"What also puts us on the map is the fact that Pfizer was so successful here. I liken it to a racing stables – if you have a trainer who trains horses and he's won the derby twice, chances are you'd put your horse with that trainer because he might win it a third time. And I think science works a bit like that, because there are so many ideas that never make it beyond that initial 'eureka' moment. You need that probability of being able to get onto the market, and while there's a lot of science that goes into drug discoveries there's also quite a lot of happenstance surrounding them that can really be influenced by the environment."
PharmaTimes Magazine
Article published in November 2017 Magazine
Launch the PharmaTimes digital editon app | .
"We reviewed the business here and felt there was a significant pent-up, slightly frustrated demand for lab accommodation and science accommodation," Hunter says.
"We've got two principal laboratory buildings, one is a building called Discovery Park House and one is a building that's still known under the old Pfizer numberings as Building 500.
"Building 500 is mainly empty and has about 300,000 square feet of floor space. If you talk to the scientists, it's sort of their equivalent of Abbey Road because of all the drugs that were thought of and taken through research there. So it's very much part of our plans to bring business back to the building.
"We then have Discovery Park House, which is also a 300,000 square foot lab building for which 60,000 square feet was never fitted out. We have already kickstarted the process of developing that area; we've done the first 5,000 square feet and we're now moving on with the next 50,000, and we've got enquiries for the remainder as well."
The space may also be used for the various colleges that work with Discovery Park, including Canterbury Christ Church University and the University of Kent.
"They provide courses here for their students, which gives the students access to industry and to specific lectures, and they can interact with working scientists," says Hunter. "Investors and researchers like it because they get access to the bright young students who can come and work for them."
There are several ways Discovery Park hopes to attract new businesses – and one that Hunter highlights is funding start-ups.
"NCL Innovation founded a specific fund, the Discovery Park Technology Investment Fund, for smaller companies with a great idea," he says. "So we essentially have our own venture capital fund specifically for Discovery Park.
"Alongside big players like Mylan and Pfizer [who still have a presence on the park], we've got many interesting newer businesses, such as companies that have come from India or companies started by ex-Pfizer workers who have had a bright idea and have received funding to set up a business off the back of that."
Hunter partly attributes the park's success in attracting businesses to a "genuine shortage" of collective science spaces across the country.
"If it is handled properly and managed efficiently, scientists like grouping together and having that ability through communal spaces to be able to chat or share ideas and be part of a common thinking environment. Someone from a startup company could be sitting next to someone like [Pfizer Sandwich | 522 |
Brick by Brick Executive Director Marc Sklar traveled to Uganda in June to meet with our staff and monitor progress on our many projects. A highlight of the visit was a lively exchange of ideas between Marc, Program Coordinator Max Ssenyonga and our team of skilled masons. Brick by Brick Construction is a for-profit company utilizing environmentally-friendly technology in the building of rainwater harvesting tanks, sanitation systems, and small-scale buildings. All of the profits are re-invested in our community-based projects.
A huge part of our success is the dedication of our team of masons. Traveling throughout Uganda they work hard to realize quality construction for all of our clients. After acknowledging their hard work, there was a lively exchange of ideas on how we can<|fim_middle|> | improve our company. Many of the ideas focused on worker health and safety, which has always been a priority. Since its founding in 2011, Brick by Brick Construction has had a goal, to build a healthy learning environment for Uganda's children, while providing jobs at a fair wage for our employees. We value the input of our masons and for the past two years we have been able to show our appreciation through our profit sharing plan. We look forward to growing our company together in the coming year.
In Uganda, bricks are made using the materials at hand. Fashioned from local soil and water, they are baked in large, wood burning ovens that dot the rural landscape. Deforestation is a major problem throughout sub-Saharan Africa. Positive Planet is starting its second Social Entrepenuereal Project. Utilizing environmentally sound appropriate technology supported by the United Nations called Interlocking Stabilized Soil Bricks, we believe that we can support an alternative to non-sustainable methods that are harmful to Uganda's fragile eco-systems.
This question has been asked by children for generations and now the students of Hannah Senesh Community Day School have an answer. For the past three years they have been raising funds to support a sustainable solution to the problem of chronic hunger for the 800 students at Matale Hill Primary School.
In partnership with Mrs. Saidat Ssenteza, the owner of a poultry farm in the Masaka District of Uganda, Positive Planet has began a business venture that we hope will provide sufficient revenue to support a school lunch program at Matale Hill. This is the first of several projects that we are initiating that focus on business-non-profit partnerships that invest in the local economy while providing much needed funds to achieve our goals.
Creative partnerships are a key component to our strategy to make an impact on the lives of Uganda's children. With Eggmodule.org, a project that focuses on providing non-profit organizations and social entrepreneurs with the tools to develop and manage sustainable poultry businesses, we have found a powerful partner for changing the lives of thousands of students and their families. In February, after years of careful planning, we finally purchased 3600 chickens to begin our pilot project.
What came first the chicken or the egg? For Positive Planet's Poultry Project the chickens definitely come first.
It's hard to imagine schools without books, but for the over 2,000 students served by Positive Planet programs this is the case. Now for the first time all of these children will know the joy that comes from opening a book and reading. Approximately 6,000 donated books recently arrived in Uganda where they will be distributed to the five schools participating in our program. The books were part of a shipment that we participated in with two other East African non-profit organizations. Positive Planet is working with our Ugandan teachers to establish libraries in each of our schools so that all of the students and teachers can enjoy this precious resource.
During a recent visit to Uganda, Positive Planet co-founders Drs. Marc Sklar and Daniel Murokora met with Mr. Vincent Semukula, the Rakai District local council (LC5) chairman. In attendance at the meeting were also the chief education and communications officers. After a wide ranging discussion on the challenges facing the government in providing Universal Primary Education for all the district's children, it was agreed that Positive Planet and the Rakai District government have common goals and that working together would be of mutual benefit.
In Uganda, the LC5 chairman might be considered at the political level of the Governor of a state in the US. We are grateful that Mr. Semukula is supporting our application of recognition as an Ugandan NGO.
A recent survey of the head teachers of Positive Planet's five Ugandan sister schools revealed that approximately 80% of our children do not eat lunch on a daily basis. Chronic hunger negatively impacts the health of our children and also has a profound effect on their ability to learn. Positive Planet co-founders Drs Daniel Murokora and Marc Sklar recently met with over 20 parents of our first sister school, the St. Andrews Matale Hill Primary School to discuss this serious problem. In a 2 hour meeting many of the difficult issues that underlie the problem of chronic hunger were discussed. Extreme poverty limits many of our parents' ability to provide lunch for their children. The fact that over 50% of our children are orphans, often being cared for by elderly relatives with limited resources, also impacts their ability to fully address this dilemma. By the conclusion of our meeting it was clear that any solution would require full partnership with the entire school community. Positive Planet is always seeking creative partnerships to assist in the realization of our mission. To address this serious problem we are working with Egg Module.Org to begin researching the feasibility of establishing a small scale cooperative poultry farm. Our goal is to help create a sustainable business model which will support a school lunch program for the students of Matale Hill. For more information about The Egg Module, visit their web site.
After a year of planning and preparation, Positive Planet sponsored its first trip, visiting our sister schools in rural Uganda. Representing three of our U.S. sister schools 25 teachers, students and parents embarked on an exciting three-week journey throughout the physically beautiful and culturally rich nation of Uganda. Beginning with a ten-day eco-tour of the entire country, our hearty band of travelers withstood 12 hour drives over mountainous dirt roads to see Uganda's breathtaking landscape while learning about the everyday lives of the people of Uganda. Visiting Uganda's national parks we trekked the endangered mountain gorilla (over half the world's population of 700 live in Uganda) and observed the rich diversity of African wildlife.
After completing a circuit of over 1000km we returned to the district capital of Masaka where we began the work, which was the focal point of our trip. In partnership with Ugandan educators from our sister schools, a three-day Teacher Skills Workshop was held attended by 26 Ugandan and 10 American teachers. Exchanging ideas and experiences, all of the participants discovered that there was much to learn from each other and left with a renewed dedication to deepen and expand our partnership to improve the quality of education for all of our children.
Teachers, students and their parents visited each of our sister schools where we shared our games, songs and dances with one another. As we ended our trip all who participated expressed that the trip was life changing. Life changing in that each of us was moved by the desperate conditions endured by our sister schools as well as the inspiration we received of our Ugandan friends to continue to build bridges between our sister school communities to impact the lives of all of our children. | 1,377 |
Good Samaritans help rescue trapped pilot
Plane crash under investigation
John Dzenitis
Stay with WPBF.com for breaking news and information.
Brian Betron was driving down the street next to Lantana Airport when he noticed a low-flying, out-of-control airplane barreling straight toward his car."This plane was actually flying directly at me," Betron told WPBF 25 News Reporter John Dzenitis. "He just couldn't gain altitude."An experimental two-seater aircraft with engine problems was coming in for an emergency landing but had overshot the runway.The plane was about to slam into traffic on busy Congress Avenue when the pilot made a hard, last-second turn and flipped his plane into the ground, just yards short of the airport fence and sidewalk.Fuel was spilling all over and the pilot was trapped upside-down in the cockpit.Betron and other good Samaritans realized they had to do something fast before the plane possibly erupted in flames."When someone actually dies in these experimental airplane crashes, typically it's from fire," said Betron, who is also a pilot.Betron and a handful of<|fim_middle|> plane and pulled the pilot out.
"We pulled him about fifty feet away from the aircraft," Betron said. "He had a large gash on top of his head, right on his forehead, bleeding profusely, but other than that, he was OK. He asked me to call his mother to tell her he was alive."
On Monday, the National Transportation Safety Board said they had taken lead of the investigation to find out exactly what went wrong with the home-built, experimental aircraft.
According to the Federal Aviation Administration, the pilot was heading to Hollywood, Florida, when he made a distress call reporting partial engine failure and was forced to make an emergency landing at Lantana Airport. | other good Samaritans jumped the barbed wire airport fence, lifted the wing of the plane and pulled the pilot out."We pulled him about fifty feet away from the aircraft," Betron said. "He had a large gash on top of his head, right on his forehead, bleeding profusely, but other than that, he was OK. He asked me to call his mother to tell her he was alive."On Monday, the National Transportation Safety Board said they had taken lead of the investigation to find out exactly what went wrong with the home-built, experimental aircraft.According to the Federal Aviation Administration, the pilot was heading to Hollywood, Florida, when he made a distress call reporting partial engine failure and was forced to make an emergency landing at Lantana Airport.
LANTANA Fla. —
Brian Betron was driving down the street next to Lantana Airport when he noticed a low-flying, out-of-control airplane barreling straight toward his car.
"This plane was actually flying directly at me," Betron told WPBF 25 News Reporter John Dzenitis. "He just couldn't gain altitude."
An experimental two-seater aircraft with engine problems was coming in for an emergency landing but had overshot the runway.
The plane was about to slam into traffic on busy Congress Avenue when the pilot made a hard, last-second turn and flipped his plane into the ground, just yards short of the airport fence and sidewalk.
Fuel was spilling all over and the pilot was trapped upside-down in the cockpit.
Betron and other good Samaritans realized they had to do something fast before the plane possibly erupted in flames.
"When someone actually dies in these experimental airplane crashes, typically it's from fire," said Betron, who is also a pilot.
Betron and a handful of other good Samaritans jumped the barbed wire airport fence, lifted the wing of the | 383 |
Ranges, Ovens and Cooktops - Bertazzoni
Specialty ovens
Collezione metalli
Image and Video Gallery
Italian Lifestyle
Bertazzoni Experience
Bertazzoni prides itself on bringing together industrial production methods and engineering skills with elegant Italian design flair.
Bertazzoni prides itself on bringing together industrial production methods and engineering skills with<|fim_middle|> process to prepare them. First, they are lightly brushed to add texture to the surface. The steel is then treated under pressure to compact the brushing, which creates a visually interesting surface that is beautifully smooth to the touch. Finally, an invisible anti-fingerprint finish is applied, which protects the steel and makes it very easy to clean. Once delivered to the Bertazzoni factory, the stainless steel goes through different industrial processes, depending on what it will be used for. So it might be laser cut to create a specific shape or moulded to make seamless one-piece worktops. In keeping with Bertazzoni's approach, all of the welding is done by highly-skilled craftsmen. All this attention to detail results in stainless steel finishes that are both beautiful and practical.
For more than 100 years, Bertazzoni cooking appliances have helped people bring the best of home-cooked food to the family table. Bertazzoni has built a reputation on the quality of its engineering and a deep passion for food and family. Born in Emilia-Romagna, Italy, they are now available around the globe. Whether you choose our built-in or free-standing Bertazzoni cooking appliances can help you cook with precision, flair and flavour.
© Bertazzoni Spa 2020
This web site uses technical cookies and third-party cookies. By clicking on "Ok" or proceeding with the navigation, you agree to its use. Info | Italian design flair. This thinking has led us to create four new special finishes inspired by the pinnacle of Italian craftsmanship. Each Bertazzoni appliance is an elegant combination of form and function, technology and inimitable style. These special finishes take this thinking to a new level. Our designers and engineers were inspired by the flawless paintwork found on beautiful Italian sports cars, the metalwork and powder-coated finishes created by the artisans of Italy and the traditional enamel finishes of Bertazzoni's original stoves. Each finish is matched with different series to complete a sophisticated and instantly recognisable look. Whichever Series and finish you choose, it will bring a unique touch to the look and style of your kitchen.
The classic, elegant finish of our Texture paint brings a sophisticated and pleasing look to your kitchen. Powder coating is one of the most popular processes used to protect metal, especially for kitchen appliances. It is particularly suited to creating stunning matt finishes. Bertazzoni use this process to create the rich, deep Texture paint finish on the Master Series and Heritage Series range cookers. Available in two beautifully matt colours Nero and Bianco it is also very practical, durable and stain and scratch resistant. The process uses pigmented powder made from resins and other materials, which is applied electrostatically and then cured at extremely high temperatures. As it heats, it flows to form a "skin". This skin creates an exceptionally hard finish that is much tougher than conventional paint.
When Bertazzoni's designers decided to bring vibrant colour to the Professional Series they found inspiration in the Emilia-Romagna region – the landscape, the fruit and vegetables, the light of the sun and the moon. Transferring these natural colors to our Professional Series freestanding cookers demanded an added level of applied science. Northern Italy's sports car manufacturers have perfected ways to apply colors to metal that are both breathtaking and resilient. Partnering with them, they've applied this unique finish and colors to Bertazzoni appliances. Highly-skilled craftsmen apply multiple layers of colour by hand. The result is hard-wearing, resistant to acids and temperature corrosion. It is available in 5 high-gloss colors – Nero, Bianco, Giallo, Arancio and Rosso.
Available on the new Heritage Series, this finish was inspired by the original wood-burning stoves that Antonio and Napoleone Bertazzoni built in the 1930s. The enameling process was adopted because it creates a very durable finish that makes cooking surfaces easy-to-clean. After almost a century the Bertazzoni designer decided to celebrate the brand heritage by introducing this enamel inspired ivory color on the new models of the Heritage Series ranges. Completed by carefully considered stainless steel and chromed details, it offers an instantly recognizable 1930s look to the new Heritage series ranges and range hoods.
Bertazzoni engineers demand the highest grade stainless steel for our appliances. It starts with sheets of highly polished steel that are put through a three step | 609 |
Juan Foyth repaid Mauricio Pochettino's faith by scoring the decisive goal as Tottenham left Crystal Palace with a<|fim_middle|>th minutes from time.
Palace squandered their final chance late on when Alexander Sorloth blasted straight at Lloris from about eight yards, leaving Hodgson with his head in his hands as Spurs saw things out.
It is fair to say that Spurs have produced few impressive performances this term, yet they made sure fourth spot in the table will remain theirs for the time being without playing particularly well.
Palace full-back Aaron Wan-Bissaka has earned rave reviews ever since breaking into the team and he put in another strong showing on Saturday, looking solid defensively and clever in attack.
It has been an impressive start to the season for Lamela, but he was disappointing at Selhurst Park as he failed to offer much spark and went missing for long periods.
- Palace have lost seven consecutive top-flight matches against a single opponent for the first time ever.
- Tottenham have won 1-0 in each of their last five Premier League meetings with Palace, the longest run of consecutive identical results between two sides in the history of the competition.
- Tottenham have won more away Premier League games in 2018 than any other side (12). Only once have Spurs won more top-flight away games in a single calendar year (17 in 1960).
- Pochettino has won nine Premier League games against Palace – more than he has managed against any other side.
- Tottenham have had 146 different goalscorers in the Premier League, more than any other team in the competition's history (excl. own goals).
Things do not get much easier after the international break for Palace, as they travel to Manchester United. Spurs will host Chelsea in a potentially thrilling London derby. | 1-0 Premier League triumph on Sunday (AEDT), their fourth in a row across all competitions.
The young centre-back had received criticism for a difficult Premier League debut in last week's 3-2 win over Wolves, but Pochettino refused to drop Foyth and he subsequently secured the spoils for Spurs in a poor match at sodden Selhurst Park.
Chances were few and far between during an unremarkable first half that was more notable for the weather than the standard of football on display.
The hosts crafted the first chance of the game through former Spurs winger Andros Townsend in the 16th minute, though his effort hit the side-netting and did not worry Hugo Lloris.
Spurs struggled to create opportunities of their own, but Harry Kane did try his luck from distance just after the half-hour and forced Wayne Hennessey into a flying save.
Palace should have gone ahead early in the second half, but James Tomkins inexplicably headed a corner wide from close range.
Foyth did not make the same mistake, however, as the centre-back nodded in after Kane's initial header had been blocked 24 | 240 |
Over 75,000 spectators turned out to support the parade through the city centre and tens of thousands of party revellers enjoyed the festival in the city's gay village throughout the two days.
The event this year featured its biggest ever line-up, including headliners Erasure's Andy Bell, Lisa Stansfield, Katy B, Lawson, Fleur East, DJ Fresh and MNEK, together with over 100 performers and DJs.
Lawrence Barton, Birmingham Pride Festival<|fim_middle|> notified of important Birmingham Pride updates, by 'attending' the official Birmingham Pride 2017 event on Facebook. | Director, commented: "This year's festival has been undoubtedly our most successful in its 20-year history. We were amazed by the tens of thousands of spectators who turned out to support our 'Generation of Pride' themed parade, in addition to all the visitors to the two-day Pride festival that followed.
"We are indebted to both West Midlands Police and the security teams deployed, who collectively ensured it was such a safe and happy Pride for everyone to enjoy.
West Midlands Police have confirmed that, despite large crowds partying into the early hours on both nights, there were only a small number of drug and alcohol related incidents.
West Midlands Police Inspector Gareth Morris, from Birmingham city centre, commented: "It's fantastic to have been able to police and take part in an event that is so positive for the LGBT community and for the city of Birmingham.
"Our aim was to ensure a peaceful, enjoyable event for everyone at the festival and we believe that this was achieved.
"With the volume of people attending over the weekend with tens of thousands of people watching the parade this was a very successful, trouble free event with a relatively low level of arrests; which were led by our proactive plain clothed officers."
Birmingham Pride is next year being held on Saturday 27 and Sunday 28 May 2017.
Get | 265 |
course, experiencing the pleasure of being our "guests for the day." Our goal is simple - to help you plan a successful event so that you can spend your time enjoying the round of golf!
From the moment you and your group arrive at Legion Memorial Golf Course, our Team will ensure that every need is<|fim_middle|> Courses. We look forward to seeing you soon. | met and that your day runs smoothly from start to finish. In addition to an outstanding golf experience, Legion Memorial Golf Course offers your group a banquet area with seating up to 150 and a wide array of menu items to fit every budget and taste. We have an attractive golf shop stocked with the latest apparel and equipment.
Companies, charities, golf groups, and individuals have found Legion Memorial Golf Course to be a great place to host outings and tournaments. With professional tournament scoring, special golf contests, tee gifts and prizes, and custom menus, we can accommodate almost any group's needs. Just ask!
Thank you for your interest in Legion Memorial Golf | 131 |
Annual Club volleyball has become a difficult decision making process. One of the purposes of this section is to help parents and player make the best informed choices when it comes to club volleyball. Keep in mind, each year current events can change the basis for decision making with each club due to personnel changes, philosophy changes, and new club offerings. Some of this is not new information for many of you that already have been involved with club, or are returners to the volleyball club seasons. For some of you, it's your first information on club volleyball ever. Please read on, and fill free to follow up with our staff if you have any questions. Club tryouts can be a stressful time of year, so hopefully Alpha Prime can help at least make things a little less stressful with some information.
Members of our staff have played internationally, coached on multiple levels of play including Middle and High School teams, received the most current industry training standards with the NCVA , coached for other clubs in the area, and continue to play both beach and indoor volleyball locally.
1) Why should I (my daughter) participate in club volleyball?
For the love of volleyball and the desire to improve with high quality coaches and competition – those should be the main driving factors. Club volleyball can also help to get a student athlete recruited to play in a collegiate program, but it's certainly no guarantee. Club volleyball can be expensive (can range from $1500 all the way up to $6000 for January to June, including travel expenses for power league) when taken on a whole, but if you spread out that cost for the hours of coaching and game time, it comes out a LOT less than private lessons (which can range from $30 - $60/hour). But it is still very expensive. So you must really think hard about why you want to make the time and financial commitment.
2) Which club is best for me (my daughter)?
Time - If you're taking a heavy class load and have other extracurricular activities, it will be tough to balance all of those demands with club volleyball. Typically club volleyball practices are twice a week with Saturday/Sunday tournaments once or twice a month from the end of January thru May. If you play on a Power League team, you will likely be participating in 1-3 qualifier tournaments which usually involve travelling out of town, leaving on a Thursday and returning on a Sunday. Don't sign up for club volleyball unless you're committed to the time you need to invest in volleyball - it takes a significant amount of your time. There are low key clubs and teams that will demand less time, and have less travel, so you'll have to match your choice with the time and money you can invest.
* What club/high school coaching experience do you have?
* What's your coaching philosophy?
* What are your goals for the upcoming club season?
* What position do you think I'll play on your team?
* How many people will you take on your team?
Players - Will you have any friends on the team? What other schools do the other players come from? Will you be able to learn from the players? Will you be able to get sufficient playing time based on your skills and your teammates' skills?
Cost - Area League is generally less expensive than Power League due to less travel and less tournament commitments. Area League tournaments are all local (within a 30 min drive) while Power League may require travel to regional tournaments 2 hours away, and some qualifiers are in different states. Some clubs offer discounts for hardship situations. Power League is centered around a qualifier system that enables teams to earn the right to attend USA Junior Nationals at the end of the season (you can qualify out of your region and from national qualifier tournaments). Area League is more centered around competition with local teams. Clubs usually charge a base fee (ranging from $2000 for an Area League Club up to $7500 for a high level Power League Club), and then may also include fees for travel and accommodations for tournaments. Some clubs will have the parents take care of travel on their own, so make sure you ask about what's included with the club fees.
Logistics - There are clubs ALL over the bay area. Since there are many practices, keep travel time to the club practice facilities in mind when signing up for Club. Will you have friends on the team so that you can carpool? Does the club have its own facility or will you have to practice at various high schools rec centers in the area?
Fun! Find a club that has a philosophy of having fun along with the season. Inquire about team bonding; community service and skills clinics.
3) Does High School Coaches require girls to participate in Club to make a HS team, especially Varsity?
In a perfect, selfish world, probably, yes. The more touches a player gets the more chances to improve. However, the world does not revolve around volleyball. Girls should be encouraged to play other sports that help cross-train muscles and keep them from burning out. However, girls that participate in club volleyball usually do stand a better chance at tryouts the next year if they had good coaching and competition. But Club is NOT required to make a team. Alpha Prime Volleyball Club strongly encourage every player to consider club volleyball if they love the game and if they want to improve and get more out of it. Only play Club if you really want to.
4) What if I'm doing other sports? How should I stay in shape for volleyball for next season?
Sign up for a volleyball camp in June/July to help prepare you for the high school season. Talk to your coaches about volleyball specific workouts in the off-season or private lessons. However, if you don't do club, you must do SOMETHING to prepare yourself in the off-season to make yourself competitive for next year's high school season. The bar is always being raised on the quality of volleyball players in this area, so don't expect to just show up without any off-season training and make a team the next year.
5) How do I find out about Club tryouts? Which ones should I go for?
Age groups are based on the cutoff date of Sept 1st. So go to the site and according to your players ages and birthdate NCVA will indicate the age group(s) the player is eligible to play with.
Below is a link to the NCVA parent handbook in case you desire additional information about the NCVA rules for volleyball.
1) Power League - higher level of competition; usually teams try to qualify for Junior Nationals or participate in the AAU national tournaments at the end of the season. Power League tournaments are sometimes as far away as Sacramento and Regionals cover a wide area. Examples for Qualifier cities include Reno,<|fim_middle|> you personally introduce yourself to the coach of the team you'd be trying out for. You are interviewing all the time, so make sure it's a good first impression.
Club Tryouts for the each season start the first weekend in November and continue into the next weekend (each club chooses when to start during this time for their teams), so you'll need to pick out the tryouts you want to make and plan on the times and locations. Don't plan to try out for more than 3-4 clubs. You'll be exhausted trying out for too many clubs, and won't be able to make the schedules. No club can sign a play until 6pm on the following Monday. All players must have at least 48 hours after a tryout session to sign with a club. This is to allow a player and their parents to have enough time to attend other club tryouts and evaluate options.
>> If a club volleyball coach or director is pressuring you to give them a decision during the tryout or within the 48 hour window, you should NOT feel compelled to give them an answer unless you are ready. You should be aware that some clubs use these strong arm tactics to make girls feel compelled to verbally commit to a team so they won't try out for or accept offers from another club. However, you need to decide if that's the type of club you want to join. This is a 6 month commitment of time and a lot of money, so take the time you need to make a good decision.
Parents and athletes need to manage their SportsEngine accounts to ensure they get the most out of their Alpha Prime Volleyball Club experience during each sporting season. With their accounts properly configured, athletes and their families will receive communications according to their preferences and be able to complete registrations more efficiently. SportsEngine has created a Team Management Guide for Parents and Athletes that will help our members with frequently asked questions about our website and mobile app. | Denver, Spokane, Los Angeles, Atlanta and Austin. The Junior Nationals rotate.
2) Premier League - lower cost, and less travel; teams usually compete in Regionals and local tournaments but do not expect to qualify for Junior Nationals. Premier League teams only play against other local Premier League teams in premier league tournaments (except for selected tournaments which blend power and premier league teams based on sign ups).
Either way is fine, and you'll need to decide what's best for you.
How do we find out more about Northern California club Volleyball programs?
Clubs will be having clinics/open gyms over several weekends in October. For clubs you are interested in learning about, check their websites to see if they are offering clinics or open gyms. These are informal sessions where you can meet the coaches and get a workout for a couple hours. It's a lot less stressful than a tryout. If you are unsure about a club, this is a great way to get visibility. When you go to a clinic, make sure | 205 |
In order for you to stay in shape, the most important thing is to actually choose an activity that you really enjoy, and which you know is going to help you physically. There isn't "the best exercise" for staying fit. It's all up to your preferences and dedication. A number of people get bored with their gym routines and simply want to try out something new.
The good thing about this is that when you start a new exercise, you exercise your body and your cardiovascular system in a new way compared to your old routine. New habits actually build better results, and the idea is to exercise at least twice on a weekly basis. Here are some of the activities that you could give a shot.
Of course, for starters, there is always one of the simplest ways to exercise, if you are dedicated enough to keep up the routine – running. It is the perfect way to boost your cardiovascular fitness. If we take a look at the research done by the U.S. Department of Health and Human Services (HHS), we can see that for adults, the best way to go is to do a moderate kind of activity, such as walking, for 150 minutes, or a more intense activity, like running, for 75 minutes, in order to get the same results.
While a lot of people see this 1950s thing as something that only kids do, the fact is that hula-hooping is actually an amazing cardio exercise for your hips, waist, thighs, and buttocks. It will also tone your lower back and abdominal muscles. It's really a fun workout that you can do on your own or in a group, inside or outdoors, whatever your preference is.
For starters, you need a proper hoop. It should be big, heavy, not like the ones that children use which are too light and small. What you basically need to do is hold the hoop around the waist, stand so that your legs are apart at about shoulder-width, and then, by bending your knees and keeping one foot in front of the other, you spin the hoop around, with light side-to-side or back and forth motions. There are also other ways that you can exercise with a hula-hoop.
You should know that full-body exercises, such as push-ups, squats, burpees, and triceps dips are actually a lot more beneficial than concentrating on working out isolated muscles like calf raises or biceps curls. The fact is that full-body workout is actually a lot more practical, and is bound to help you a lot more in various real-life situations, where you have to lift something heavy or spend quality with your children in the playground.
A "How to stay in shape" kind of article simply cannot go without mentioning the beautiful exercise that is cycling. It's basically a low-impact kind of workout that is easy on<|fim_middle|> cook, and are always up for cycling around town or going to a dance class, you will become a lot more used to this kind of lifestyle, and staying in shape will no longer be a problem.
How Can Sleep Improve Your Health and Fitness? | your joints and muscles, but at the same time, extremely good for your health. Even with cycling as a recreational fun activity, you can get away from gaining weight.
Not only that, but cycling is proven to affect people's mental health, and work a lot better in terms of your welfare than driving. So, think of what kind of cycling workout you want to take up, find a quality online bike store, and get yourself the right kind of pair of wheels that you can exercise with.
If this is completely new for you, then you might feel a bit funny trying out pole dancing for the first time, and you'll get to laugh at your first unsuccessful attempts. But the fact is that pole dancing is one of the best ways to have a fit body, as well as a brilliant confidence booster. Find a local pole dancing class, and enjoy the benefits of this aerobic exercise.
You will improve the strength of your upper body because lifting the body off the pole affects your shoulders and arms. It is just perfect for developing a proper posture. Pole dancing is a sensual kind of workout, which combines dance routines, spinning around the pole, and floor exercises are there to benefit your lower body too.
Another advice that you should follow is to spend your time around other fit people. There is a lot that you can learn from them. Most of all, by spending time with them, it will be much easier for you to get into the whole "staying fit" mindset.
Basically, if you spend your time with people who eat fast food and then a lot of sweets for dessert, you will most probably become like them. On the other hand, if you hang out with friends that think about healthy recipes to | 345 |
Teen Sits Down At Public Piano And Delivers Perfect "Interstellar" Cover From Memory.
We're all blessed with a talent of one kind or another, but some gifts make everyone sit up and take notice!
<|fim_middle|> abilities. As Andrei watched, Ella sat down at the famous Yamaha and began to play a magical cover of Hans Zimmer's "Interstellar" theme. Without so much as a sheet of music in front of her, Ella's fingers flew over the keys to produce a gorgeous, ethereal melody that quickly drew a crowd of admirers.
Talk about natural talent! Something tells us Sir Elton John would be very pleased to see this video. Watch Ella's version of "Interstellar" below, and be sure to share this story. | Sir Elton John once showed up at London's St. Pancras station to put on a short, free concert. When he finished, he left behind his signed black Yamaha piano for all to enjoy. As a street musician who has made a name for himself performing at public pianos, Andrei Piano often comes to the station to play the famous instrument, but one day, he stepped aside to let a young woman named Ella play.
Ella is just 17 years old, but she's already a talented artist who is entirely self-taught. She started playing three years ago and has already surpassed many players with her natural | 128 |
Maia Sandu awarded democracy prize
The president of Moldova, Maia Sandu, has been awarded the Norwegian Lindebraekke Prize.
Sandu, who has been president of Moldova since December 2020, has worked to deepen Moldova's relations with the European Union and to promote democracy and rule of law in her home country. She is awarded the prize in recognition of her work to "facilit<|fim_middle|> or organizations which promote political and economic freedoms and rights, and who strengthen democratic institutions in societies where they are oppressed. Members of the jury include Eva Gustavsson, managing director of the Jarl Hjalmarson Foundation and Eirik Moen, former secretary of state at the prime minister's office and former secretary general of the International Democrat Union.
UNM chair released in Georgia Call for immediate release of Roman Protasevich
Election Calendar: Today | ate critical reform, fight endemic corruption and promote a government working for the people", the jury writes in its motivation.
The Lindebraekke Prize is the international democracy award of the Norwegian Conservative Party (Hoyre). It is awarded to individuals | 50 |
Mikoel Alexander<|fim_middle|> defenders off balance in driving to the basket. He is also a vocal leader on the court bringing an energy that is needed at all times.
He brought his talents to USU Eastern where he knew, "it would be the best place . . . to succeed have fun and win." Cutler also is focusing on his general studies, someday hoping to have a professional career in basketball at some level. | Cutler, otherwise known as "Koel," was born in Myrtle Beach, South Carolina. He has played basketball seriously since he was in eighth grade and has now become a passion of his.
He went to Socastee High School in South Carolina where he performed well. One of his greatest games was against the best team in South Carolina where he scored 40 points and the defender that he was scoring on is now playing at the University of Texas.
The six-foot-four-inch guard is a pure shooter and because of his shooting ability, can pump fake getting | 115 |
Overcoming a dependency to alcohol can be a bumpy and long roadway. Sometimes, it might even feel difficult. It's not. If you prepare to stop drinking and willing to get the assistance you require, you can recover from alcoholism and alcoholic abuse– no matter how bad the addiction or how powerless you feel. You don't have to wait until you hit rock bottom; you can make a modification at any time. Check out to obtain begun on the road to recovery today.
The majority of people with alcohol problems do not decide making a big change out of the blue or change their drinking habits overnight. Recuperation is typically a more<|fim_middle|> alcohol food cravings, and public opinion to drink.
Whether you opt to go to rehab, count on self-help programs, get treatment, or take a self-directed treatment approach, support is important. Do not aim to go it alone. When you have people you can lean on for encouragement, guidance, and convenience, recovering from alcohol dependency is much simpler.
Assistance can come from relative, buddies, therapists, other recuperating alcoholics, your healthcare providers, and people from your faith community.
As signing up with a recuperation assistance group, you may likewise decide to see a mental health professional and take benefit of the most current addiction treatments and programs.
Alcohol healing is a procedure– one that frequently includes problems. Each drinking regression is a chance to discover and recommit to sobriety, so you'll be less most likely to regression in the future. | gradual procedure. In the early stages of modification, denial is a huge challenge. Even after admitting you have a drinking problem, you might make reasons and drag your feet. It is necessary to acknowledge your ambivalence about stopping drinking. If you're not sure if you're ready to alter or you're struggling with the decision, it can help to consider the costs and advantages of each choice.
While getting sober is an important initial step, it is just the beginning of alcohol recuperation. Rehab or professional treatment can get you begun on the road to recovery, however to remain alcohol-free for the long term, you'll need to build a new, significant life where drinking no more belongs.
Cravings for alcohol can be extreme, especially in the very first 6 months after you quit drinking. Excellent alcohol treatment prepares you for these obstacles, assisting you develop brand-new coping skills to handle stressful situations, | 179 |
Marquette University, which has an extensive J.R.R. Tolkien collection, wants to hear from fans for a project that hopes to collect 6,000 recordings.
Now Marquette University — which has an extensive collection of Tolkien's notes, manuscripts, first drafts, maps and artwork — wants to hear from fans for an oral history project that hopes to collect 6,000 recordings.
"Marquette is kind of a pilgrimage site for Tolkien fans. I thought we should collect their voices," said William Fliss, curator of Marquette's Tolkien collection.
Everyone must sign a donor agreement form, which makes the interview a gift to Marquette and becomes part of the Tolkien collection. While oral histories have been done in person so far — around 65 have been collected — Fliss has worked out a way for people who can't come to Milwaukee to record their oral history.
Fliss is keeping oral histories to three minutes so he can collect a large number. Plus, it forces fans to think about what's most important to them about Tolkien and prevents them from rambling.
Is he hoping famous Tolkien fans like "The Lord of the Rings" and "The Hobbit" director Peter Jackson,<|fim_middle|> them or why they're a fan," said Fliss.
To participate in Marquette University's Tolkien oral history project: Contact Archivist William Fliss, william.fliss@marquette.edu, to schedule an in-person interview. If Tolkien fans can't come to Milwaukee, they can schedule an interview through videoconferencing by going to a web page. | CBS Late Night host Stephen Colbert and former President Barack Obama will volunteer to record their thoughts?
"I would certainly welcome that. I'm not going to go out and try to contact them individually," said Fliss. "But if this is appealing enough and popular enough, I think it will draw fans to it."
Though Tolkien scholars and ardent fans know about the collection at Marquette, it's surprising to many who wonder how a Jesuit university in Milwaukee ended up with more than 11,000 pages that basically represent the creation process of "The Lord of the Rings" and "The Hobbit" as well as lesser-known books, "Farmer Giles of Ham" and "Mr. Bliss."
When Marquette built a new library, it hired librarian William Ready in 1956 to fill bookshelves. Ready contacted Catholic writers, including Tolkien, an Oxford don and linguist whose expertise in Anglo-Saxon and Middle English languages formed the foundation of a rich imagination that created the world of Bilbo Baggins, Gandalf, Aragorn and Gollum.
For the equivalent of an Oxford don's annual salary, Marquette purchased a treasure trove of papers that include the bound volume of final page proofs of "The Hobbit" featuring a list of names on the first page of the people who would get 10 free copies from Tolkien's publisher. Toward the top of the list the initials "CSL" are crossed out, perhaps because Tolkien's close friend C.S. Lewis received a free copy to write a newspaper book review.
The Marquette collection includes pages where Tolkien wrote his stories on student essay books and other scraps of paper because paper was scarce during World War II. On the back of an air raid warden's report — Tolkien was a warden during World War II — he jotted observations of the moon to help him figure out a lunar calendar for "The Lord of the Rings." There's also a menu that Tolkien used to write down the size of a hobbit's foot to figure out how fast and far a hobbit could travel.
In addition to Tolkien's papers, Marquette also collects Tolkien fandom, including fanzines, books, calendars, toys and movie memorabilia. Fliss was at a podcasting seminar recently when he came up with the idea for the oral history project.
"It will be fascinating for people to sit and listen, people who enjoy listening to podcasts," Fliss said in an interview in a conference room at the John P. Raynor Library beneath a large framed photo of Tolkien holding a pipe.
Marquette student Caitlin Helmers, who recorded her oral history this month, became a fan at the age of 9 when her mother read "The Hobbit" to her shortly before the movies were released. Part of the appeal of Tolkien for Helmers, who loves medieval history, is his vivid writing.
"I've always admired the way, as an author, he can create evocative scenes. All of the books have a really positive message about working together, about not needing to be a big important figure to get something done," said Helmers, who is studying international affairs.
"Some people spend all their time talking about how they encountered him while others might mention that very quickly and then spend their time talking about what he meant to | 673 |
Tag: Richard Madaleno
Democrat gubernatorial hopefuls invade Salisbury
There are eight candidates on the Democrat side of the ballot hoping to be the challenger to current GOP Governor Larry Hogan. On a gorgeous, almost summer-like day on the Eastern Shore, only four of them could be bothered to come to Salisbury University to address their would-be primary electorate.
Originally that was supposed to be five of the eight, though.
The lineup as originally intended: Alec Ross, Krish Vignarajah, Rushern Baker, Jim Shea, and Richard Madaleno.
Prince George's County Executive Rushern Baker was slated to be there, but informed the event organizers 15 minutes beforehand that he had an "emergency" and could not appear. According to his Twitter feed, he had begun the day campaigning in Baltimore City but the trail grows cold afterward. Yesterday evening there were Tweets and social media posts touting his previous endorsement by Congressman Steny Hoyer (who represents a portion of his county) and a piece touting his partnership for STEM training, but no mention of the forum or an apology for missing it. A Democrat friend of mine remarked afterward that "I know quite a few people who were definitely upset and said they wouldn't vote for him now even if they had considered him before." Unfortunately, that left us with a group of what would be defined as "second-tier" candidates who are polling in low single digits – combined they're not Baker's equal polling-wise.
On top of that, State Senator Richard Madaleno was a few minutes late, missing the opening statement but being allowed to make up for it when he answered his first question. Apparently there was an accident on the Bay Bridge, which was the topic of a subsequent question.
So the order was set, and placeholders were rearranged. This photo was taken once Madaleno arrived.
State Senator Richard Madaleno (right) answers a question as moderator Don Rush of Delmarva Public Radio (far left), Alec Ross (second from left), Krish Vignarajah (center), and Jim Shea (second from right) look on.
The Wicomico County Democratic Central Committee co-sponsored the event with the Salisbury University College Democrats, and aside from the horribly uncomfortable chairs we were forced to sit in for two hours the event was well-conducted for the 100 or so in attendance on this beautiful afternoon. I learned that a group of liberal Democrats can sit and listen attentively, so now I expect that same behavior at the next Andy Harris town hall that I attend. Moderator Don Rush instructed the audience early on to keep their reactions to themselves, and they complied.
I debated whether I wanted to handle this by candidate or by question, and decided that keeping the candidates' answers together for each question would present a better, more comparative format. But first I wanted to mention something that was said by WCDCC chair Mark L. Bowen. (Just to be clear, this Mark Bowen is not Mark S. Bowen, the current Democrat Clerk of the Court for Wicomico County.) Bowen assured the gathering that "our work is being done for us…all we have to do is close the deal." He was also the one who informed us that Baltimore County Executive Kevin Kamenetz and former NAACP head Ben Jealous were absent due to "previous commitments." (That would be their personally lobbying the state's teacher's union, which endorsed Jealous yesterday at their meeting. Perhaps endorsing Kamemetz or Baker would have been problematic for the teachers given educational scandals in their respective counties.)
So after an opening statement, the four remaining candidates answered questions on these topics:
New "economic engines" for the Eastern Shore
Balancing the interests of agriculture and environmentalists
Offshore wind energy development
How they would assist watermen and the Bay
Transportation priorities for our area
A new Bay Bridge
Their focus on education
Health care – a single-payer system?
But I want to begin with separate categorizations of their opening statements, and I'll proceed in the order that they spoke. This means Alec Ross goes first and Richard Madaleno goes not at all because he was tardy.
You may recall that I spent a few minutes speaking to Alec at the Tawes event last year, when he informed me<|fim_middle|> Madaleno, Rushern Baker, Salisbury University | that he had a rather unique view on education for a Democrat, since he focused more on vocational education than college readiness. Obviously coming over here is something he cherishes, as he recalled childhood vacations spent in Ocean City and told the crowd his blood pressure comes down when he crosses the Bay Bridge as part of his opening statement.
His main point, though, was that "talent is everywhere, but opportunity is not." And while "we are bringing new faces and new ideas to the Democratic Party," Ross noted their voter registration numbers are trending downward.
I could have spent a couple minutes speaking to Krish Vignarajah, but I didn't realize she was one of those waiting with me on the elevator to arrive. With her husband in tow and a young child, she could have been an interested observer. (She was also somewhat casually dressed.)
Krish came to America as a infant, emigrating from Sri Lanka with her parents. (A few years later, Sri Lanka would be embroiled in a civil war, so tensions were rising at the time.) She also painted a gloomy picture of Maryland, telling the audience that "opportunities are declining" but she would be "Larry Hogan's worst nightmare" as a candidate. "We need to give people a reason to vote," she exhorted.
Jim Shea used the Bay Bridge as an example of how infrastructure could help the economy. He was running to "invest in Maryland," with a focus on three areas: education, transportation, and infrastructure.
Leading off the questioning was one about new economic engines for the Eastern Shore. All of them agreed agriculture was going to remain the primary driver, but they also wanted to add green energy to the mix in various ways.
For Vignarajah, the object wasn't to attack "Big Chicken" but to address its environmental issues through research. She also touted the idea of tourism, both as part of an "outdoor economy" and "heritage tourism." Shea stressed his belief that we need to bring the two sides of farmer and environmentalist together. Corporations want a good environment, too, he said, but "we need clarity on the regulations." Jim also believed that we needed to grow our own businesses and not work as much at attracting those from other states.
Madaleno, after giving a brief introduction, talked about keeping agriculture sustainable, both environmentally and economically, but also brought up the idea of "eds and beds" – our educational institutions and tourism industry. Richard also pointed out the impact from Wallops Island and its space industry. He had one other point, but he joked that "I feel like the Secretary of Energy" because he couldn't recall it. Later, he said Shea reminded him it was offshore wind – it was a byproduct of seeing each other so much and knowing their talking points, as Shea mentioned later: "(Madaleno) did the same thing for me at another forum."
Perhaps Alec's drop in blood pressure stemmed from the produce he's purchased at an Eastern Shore roadside market. As the produce was bigger and better than ever at his last stop, Ross asked how they did it. "Precision agriculture," the stand owner beamed. Agriculture in the state needs to continue to evolve, he added, the combination of analytics and agriculture would allow that to happen. And to help small farmers, Ross was proposing a billion-dollar investment in a "green bank" model – a model already in place in New York and Massachusetts. (In looking this up, perhaps Ross misspoke: I found programs in place in New York and Connecticut as a way to promote "clean energy." What Ross proposes may have a slightly different focus.)
So how do you balance agriculture and the environment? Would you add restrictions to the poultry industry?
Madaleno, Shea, and Vignarajah all touted the Community Healthy Air Act, a measure Madaleno sponsored during the last General Assembly session, and one that Shea said "made sense." (It did not get beyond the hearing stage.) Alec and Krish also brought up the Phosphorus Management Tool, with Krish calling it a "win-win." She also proposed to "empower" farmers with a Farmers Rights Act.
Ross wanted all sides to play by the same rules as well, saying that neither side thinks they are lying when it comes to the facts.
Needless to say, all of them were supportive of wind energy development. Madaleno said they "will make a lot of sense," believing the won't impact the viewshed and be the basis for job growth. They can "drive the economy ahead," added Shea; however, he was concerned that there was no way to store their energy. We need to invest in that technology, he added.
Ross and Vignarajah were just as aggressive, with Alec comparing areas that don't "embrace the future" through wind to the coal country he grew up in and assuring us that windmills would not keep them from the beaches. Vignarajah promised 2,000 megawatts of wind power in her first term and chided Larry Hogan for not being proactive. We are exporting our dollars and importing their pollution, she said regarding the current situation.
This question also provided a couple of shout outs: Madaleno praised fellow Senator Jim Mathias: "No one fights harder for the Eastern Shore – I have some of the scars." Alec Ross said of Salisbury mayor Jake Day. "I like the work (he) is doing as mayor."
When it comes to watermen and the Bay, the answers were again rather similar because they focused more on the Bay, with some expressing the recovery of the oyster population as one positive development. It's a "win-win" to support the oyster industry, said Vignarajah, but don't forget the tributaries to the Bay like the Choptank, Potomac, and so forth. Shea warned that it's "too soon" to harvest oysters as watermen are pleading with Governor Hogan to allow.
Madaleno, though, expressed the opinion that the Bay's recovery was evidence that "government can do and does good things." And while he joked that being a member of the General Assembly meant he had to become an expert in crabs, oysters, and chicken, he added that cleaning the Bay has to be a multi-state effort. Richard also pledged to give waterman "a voice at the table."
And while Ross would do "whatever it takes" to accomplish this difficult and expensive work, he spent part of his time noting that "when you drive into Maryland, you should be entering The Resistance." Chiding the "abhorrent" leadership at the EPA, he wanted a set-aside to sustain watermen. Shea temed a similar concept as an "investment" in the needed vocational training for the "social costs of our advancement." On the other hand, Vignarajah expressed the "unpopular" view of crediting Larry Hogan with trying to protect Chesapeake Bay funding.
As far as transportation priorities for our rural areas are concerned, there was no real shock in their answers. Krish led off by saying "let us try to be innovative," making the investment in our economy of extending the MARC system to Salisbury and Ocean City as "an attraction" to provide "more mobility." Jim Shea agreed that the Eastern Shore has a lack of mass transit.
Madaleno and Ross blasted Larry Hogan's transportation plan, with Ross calling it "a press release" and "not realistic" because it mainly focuses on DC and Baltimore. Hogan was "one of the luckiest politicians around," said Madaleno, who noted that the Purple Line was "placed on a credit card" while the gas tax Hogan criticized was now being used for highway widening. Richard would invest in "smart mass transit," meaning on demand.
Shea was more realistic, calling transportation "anathema" for career politicians because projects take so long. He termed the high-speed rail project backed by Hogan "pie in the sky" and would vet his plan with citizens around the state.
Most telling to me was part of Alec's answer, where he called widening U.S. 50 "looking backward" and mass transit "looking forward." So I wasn't shocked by their answers to the next question, about a third Bay Bridge.
At least Jim Shea was honest enough to answer "I don't know what the correct answer is." (Hint: look at how close Dorchester and Calvert counties are.) His bigger issue was funding education. Madaleno was more worried about whether the current bridges survive, as the Hogan toll reductions "restrict the decision" on these bridges, which Madaleno would replace there.
Alec and Krish were even more blunt. "People need investments in them," said Ross. High-speed connectivity and schools were a higher priority in his eyes, with another Bay span "way down the queue." Vignarajah echoed the sentiment: "A lot of priorities are ahead in the queue" over the Bay Bridge, adding "we have a 1950s budget in many respects." She would spend money on universal broadband, too, noting 1 in 12 Maryland residents don't have high-speed internet access.
Since it had been hinted around at, the focus shifted to education. Education "will be the centerpiece of (a Madaleno) administration," said Rich, and "this is why (Ross) is running for governor," he said, but all of them were ready to give free stuff out: universal pre-K and community college were most mentioned.
Madaleno touted his membership on the Kirwan Commission, while Krish advocated for a "cradle to career" educational policy, including "hot and healthy meals." Shea's "bold and comprehensive" plan (which he mentioned was there in full on his website) included as well what he called "wrap-around services" and "funding solutions."
One thing I did like about Alec was his advocacy for vocational education, rather than the "terribly elitist" idea all kids have to go to college. He promoted an online academy to assist rural students in receiving services not otherwise available to them and advocates for universal computer science education.
We also waited until nearly the end to learn about their proposals for health care, and whether it included single-payer?
Of course it does, but not everyone is as honest as Jim Shea, who, while he told the audience that "a single-payer system is something we will eventually move to," it wasn't practical for a single state to adopt. That push had to be at a federal level, but we could control costs locally through a collaborative approach.
Otherwise, it seemed the consensus was that Obamacare was just a start, or a "strong start" in the words of Vignarajah. For her, "health care is a basic human right" and she advocated for a public option to lead to single-payer. Madaleno insisted that Obamacare "has worked to reduce costs" and brought Maryland down to 6% uninsured. He warned the gathering to not fall for the "trumped-up theory" that the ACA has failed. The fight was against insurers and Big Pharma to cut costs. (This also gave Madaleno a chance for a second Mathias shout-out: he was a "hero" as a voice for rural health care.)
Alec called on us to "resist the evil that is coming out of Donald Trump's Washington." While he admitted that "we have to continue to play defense," he gave an example of something he would do differently: because of the waiver system Maryland was benefiting from, Medicare for All wasn't possible – but Medicaid for All as a public option was.
I was honestly surprised by the final question, which had to do with redistricting. Had there been five participants, the health care question would have likely been last.
Only the American system allows for politicians to pick their voters, said Krish, but it was a "problematic" issue that had to be addressed at a national level. Shea disagreed, saying that while gerrymandering had polarized us, it wasn't a federal problem – but the solution wasn't (as he called it) "unilateral disarmament" here in Maryland. It needs to be "fair and smart," Jim added, but he warned there's no such thing as a non-partisan group.
Madaleno admitted that the gerrymandering "got out of hand" during the O'Malley administration (but failed to mention his lack of objection at the time.) Going with the theme that "the Koch brothers have bought the Congress they wanted," Rich wanted to reform as part of a multi-state compact.
Alec saw the issue as part of the "damage to democracy," which has led to both far-right and far-left factions in Congress. "We need representatives to engage with everyone in the district," he said.
It should be noted that Vignarajah used part of her answer time to express her disappointment that no question was asked on opioids. "We need action" on both the over-prescription and treatment aspects of that problem.
In conclusion, Jim Shea said Democrats needed to unite as a party. "We're going to pull together because we are a great party and take the governor's seat back."
Richard Madaleno contended that the GOP of Donald Trump is "in the process of imploding." Yet since there will be gridlock in Washington, it make the governors more important, and Maryland has one of the most powerful chief executives in the nation. "It matters who the governor of Maryland is," he continued, and "this is the time to have serious experience in office." That was a nod to his years in the General Assembly, but his goal was to "move the state in a progressive way."
Alec Ross told the local Democrats that it's "more about 'we' than 'me,' but disagreed with Madeleno on one point: the GOP is not coming apart. "We've got to work for it," he said. He also promised "no one will be more anti-Trump than me," but warned the group they "can't just resist," they have to have an "aspirational agenda." It was time for new faces and new ideas to come forward., Ross concluded.
"How do we beat Larry Hogan?" asked Krish Vignarajah. "No man can beat Larry Hogan, they say. Well…?" While Hogan "fakes left and moves right," Vignarajah pointed out that 61% of those who toppled incumbent Republicans in this cycle were women. She pledged a "fiscally responsible. socially progressive" administration.
I've noted above that Jim Mathias was in the building, but there were a handful of other Democrats seeking local and state office there: Michael Pullen for Congress (who sat two seats away from me and never said a word), Holly Wright for Senate District 37 (who did introduce herself to me), Delegate 38A candidate Kirkland Hall, and county-level candidates Bill McCain (County Council) and Bo McAllister, who I had spoken to at last fall's Good Beer Festival. (You would have known that had my old cell phone not crapped out the next day, before I could write the post.)
They did their thing and I did mine, but mine is done.
Author MichaelPosted on April 15, 2018 Categories All politics is local, Business and industry, Campaign 2018, Delmarva items, Maryland Politics, Politics, Radical GreenTags Alec Ross, Ben Jealous, Bill McCain, Bo McAllister, Campaign 2018, Holly Wright, Jake Day, Jim Mathias, Jim Shea, Kevin Kamenetz, Kirkland Hall, Krish Vignarajah, Larry Hogan, Maryland Democratic Party, Michael Pullen, Richard | 3,247 |
Q: Implementing rights with ASP.NET Identity We are currently working on a smaller ASP.NET MVC 5 application using ASP.NET Identity. It<|fim_middle|> might be a built-in way to achieve this with ASP.NET Identity.
So my question really is, which path we should follow - manually building a new table to administer the rights or use something built-in provided by ASP.NET Identity.
A:
use something built-in provided by ASP.NET Identity
The only things you could use there are claims or roles and both are not built for what you want IMO.
So I would go with your own table which links the project to a user, e.g.:
public class UserProjectRights
{
[Key]
public ApplicationUser User { get; set; }
[Key]
public Project Project { get; set; }
public AccessRight Right { get; set; }
}
Then whenever you do some actions where a specific right is required you need to check for that. There are several ways how you could do that. In my app I created "access right check extensions" like the following (I have defined a common interface for all "access right entities" to "reuse" that method):
public static bool? CanView(this ApplicationUser user, Project project)
{
var userRight = project.Rights.FirstOrDefault(r => r.User == user);
return userRight == null ? (bool?)null : userRight.Right.HasFlag(AccessRight.View);
}
assuming AccessRight is an enum like:
[Flags]
public enum AccessRight
{
View,
Edit,
Admin
}
Then you can do something like the following in your logic:
if (user.CanView(project) == true)
{
// show project
}
I used bool? so I can implement different "default behaviour" as I know if null is returned there is no right defined.
| allows us to maintain different projects and their tasks. We recently implemented basic authentication so we are able to register a user with our site and login with them.
We want to be able to manage access rights on project basis so we can say for every single user that he has read, write, admin or no permissions for a specified project.
My first thought was that we can create a simple new table in our database which stores the user rights. But I feel that there | 93 |
Monkeys! Birds! Close to the Beach and everything you want to do! Very Popular!!
Casa Carolina is Manuel Antonio´s most exclusive vacation rental home. Perched on a hilltop with beautiful panoramic ocean views, Casa Carolina is without a doubt in a class of its own.
Every last detail in the design and decoration of Casa Carolina insures that your needs will be catered to during your stay.
The breathtaking sunsets from the infinity pool and fully equipped outside grill area will inspire you and take you to a new level of relaxation. Here, as well as from the balconies of three of our suites, you will enjoy the serene blue of the Pacific Ocean.
Frequently seen from the home are monkeys, parrots, ducks and many other species of birds.
Casa Carolina is 5-Star class with a down-to-earth welcoming feel as the services are brought to you. Casa Carolina features a concierge manager who can arrange adventure tour bookings, a day of sportfishing on the Frenzy, in-home massage and spa services, advanced grocery shopping and chef services.
Manuel Antonio offers an abundance of natural beauty and excitement, and Casa Carolina is your perfect home base for exploring what the area has to offer, including world-class sport fishing, eco-touring and extreme adventure activities as well as indulging in the high-class comforts of the home.
Come and experience all that Casa Carolina has to offer!
Outside dining seating for 20 is available.
Private balcony off the master suite with amazing views.
Fishing charters with Frenzy Sportfishing can be arranged.
Your concierge, Willy Jimenez, can arrange all aspects of your Costa Rica vacation including tours, shopping and transportation. Private chef services are available and reasonably priced. Casa Carolina is perfect for couples as well as families.
Do not hesitate to book this property, it is truly incredible and will exceed your expectations!
We were a group of 6, 4 adults & 2 teenage girls. The house could have easily accommodated twice that and still would have felt more than comfortable. If you stay in the separate, but still under the same outdoor roofline, "chicky suite", you'll probably be awoken by the 6am-ish troop of monkeys landing on the roof. It's so cool, just incredible to experience, so get up, get your coffee and sit outside under the covered patio with your binoculars and watch all the nature around you.
Staying at this house and all it offers for everyone in your group is just unbelievable!
One of the best vacations we've ever been on!!!
Eleven wonderful fun friendships were made!!! Casa Carolina and team were the absolute best, amazing fresh fish dinners, in home spa, white water rafting with fresh fruit and a water fall stop, beautiful beaches, souvenirs, off shore and in shore fishing, dining at the local restaurants and marina, sunset catamaran, monkeys, and just a blessing that we were able to experience Costa Rica!!!
Susan thank you so much for the fabulous review! We are delighted that you and your friends had such an enjoyable stay at Casa Carolina. I will pass along your kind comments to our staff!
A Life Time Memory Maker!!!
We couldn't have been more happy than picking Casa Carolina as our option of stay for our family's first time visit to this beautiful country. Once we booked our stay the customer support leading up to the trip with Charlotte was awesome. She was quick to respond about questions about the house, logistics and pre-planning.
Once we arrived in country the concierge "Willy" took over and was happy to help plan our daily adventures, offer advice, insight and other miscellaneous request. The house staff of Lisabeth & Saul was truly memorable. They are two of the nicest and sincere human beings my family and I have ever met. They work so hard to make your stay as enjoyable as possible. Whether it was cleaning our rooms and laundry, cooking the most delicious breakfast, keeping the house spotless or taking part in Saul's since of humor and sharing stores is what I will cherish the most. By the end of the week the two felt like part of the family! Oh by the way, Saul has a 6th sense for monkeys. Ask him every morning if the monkeys are near by. If they are close and I still have no idea how he knew this, he will call them upon request.
Misael, the house driver was nice and friendly as well. He can help you with all your transportation needs and take you to some really cool insider spots.
Finally the house, in one word<|fim_middle|> Casa Carolina! Great location!
HI Tracy! I am glad to hear that you guys had a great stay at Casa Carolina. Thank you for the kind words in your review. I'll pass them along to Willy, Liz and Saul. They will be delighted to hear this. I remember telling you in our conversation that this will be the easiest vacation that you will ever have! I believe it turned out that way. I hope you will come back. The monkeys miss you!
One of our favorite vacations! The property is beautiful, and the staff was amazing!
Thanks for the 5 Star review! We're glad you had a great time once again. I will pass along this review to our staff. They always love to read them!
Outstanding stay at Casa Carolina!
Family and I, (6 total), just returned from 5 days at Casa Carolina. The home is beautiful, indoors and out, and is very well appointed. Although we filled our days with various excursions, I would've been more than happy just staying in and enjoying Casa Carolina and the amazing views it offers of the Pacific and all of the local wildlife. During our stay, we enjoyed visits from Macaws, a Toucan, three types of monkeys (Howler, Capuchin, Squirrel), and even had a sloth on the property! The accommodations and the wildlife were certainly memorable, but the icing on the cake was the awesome duo of Saul and Liz! They were fantastic and took such great care of us. We've stayed in a lot of nice homes... this one is one that we'd definitely return to!
Michael thanks so much for your great 5 Star review of Casa Carolina! I am glad to hear that you had a chance to see the scarlet macaws. They really are beautiful. We are seeing them much more frequently now than even a few years back. Of course the monkeys are our usual visitors and can be quite entertaining! I'll pass along your kind comment to Saul and Liz. They sure do work hard to make sure that our guests have a great time! We do hope that you will choose Casa Carolina again for your vacation!
Many adventure tours are available including world class fishing, Rainforest Canopy Ziplining, Surfing, Bird Watching, and lots of visiting Monkeys! | , WOW. It is truly a very special place. When you enter the home for the first time your jaw will drop to the floor. The listed pictures does not give it justice. The views from the kitchen, bedrooms, bbq island, pool and Chickee sweet are nothing short than gorgeous. My family is already missing the sights we saw every morning while we ate our breakfast, as well as watching the sunsets with a cocktail in hand.
Lastly as being first time visitors, security was also a concern for a couple members of my family. Those concerns were met. The house is located in a very safe area, it is gated and has a grounds guard at night. Everyone felt very safe.
In summary, our family is talking about when we can return to Casa Carolina. Thanks for the life time of memories!!!
Wow thanks for the incredible review! This is one of those reviews where it's hard for me to know where to start to say "thank you" for choosing Casa Carolina. The most important thing is that you had a wonderful vacation in Costa Rica and were very pleased with Casa Carolina. I'll pass along your kind comments to my entire staff. I am sure they too are looking forward to your return!
Casa Carolina lived up to, & exceeded, our every expectation!! We could not have asked for a better vacation for our first trip to Costa Rica and we will be back!
Jamie Walker, the owner of the Casa Carolina, spent about 30 minutes on the phone prior to our visit to walk us through what we could expect for the week. It was so nice of him to spend that time with us-we felt very prepared for the trip.
We then communicated with Willy Jimenez, who oversees the property in Quepos. One of the very best parts of the trip was Willy & his staff. They took care of every last detail of our trip with ease & kindness. We looked forward to seeing them everyday! Willy arranged things like transportation to & from the airport, our fishing trip on the Frenzy, vanilla farm tours, etc. He was outstanding! We also can't say enough about Lisabeth & Saul, who worked at the house everyday. They are two of the kindest people you will ever meet. Lisabeth washed our clothes each day, made beds, laid out fresh towels & kept the house spotless. Saul took care of us from sun up to sun down with grocery shopping, arranging our driver needs, setting up reservations....whatever we needed, he made it happen. Both Lisabeth & Saul cooked breakfast and dinner for us several times throughout the week. The rice and beans & veggies are to die for-we will miss that dish! We also loved our driver, Misael, who took us wherever we wanted to go & whenever we wanted to go. He was awesome. We also loved our airport transfer driver, William. We just can't say enough about the staff of Casa Carolina. Everyone of them was so kind, funny & easy to work with-we definitely made new friends!
Casa Carolina itself is incredible. It sits up high with a view of the Pacific that is just gorgeous. There is also a terrific view of the Pacific from the shower in the Chickee apartment...what a way to shower with the window open and that view! Swimming in the infinity pool also provided beautiful views of the Pacific We spent a lot of time in the pool, adults & kids-terrific! The monkeys arrive everyday & the wildlife watching is amazing!
The house is very well appointed, w/ comfortable beds, a well stocked kitchen, great dining & living area. One of the best parts of the house is the outdoor kitchen/dining area.
Bottom line, Casa Carolina is amazing-the house, the staff, the country, the views. We feel so lucky to have stayed there and experienced Pura Vida from | 780 |
Phototype
April 22, 2009 Gamma Epsilon Tau Will Honor Romano, Hotzler with 'Gold Key Awards<|fim_middle|> national graphic arts honor society, will present its 2009 Gold Key Awards to Diane Romano and Russell K. Hotzler.
February 1, 2004 UPFRONT
Phototype Updates Facility CINCINNATI—Queen City printer Phototype has taken the wraps off its newly renovated, 40,000-square-foot facility that will house its headquarters and creative imaging center. The existing facility, a historic building, received a multimillion dollar facelift that included a two-story addition. Phototype also operates an imaging center in Columbus, OH, and a high-end creative art studio in Chicago. Quad Names Quadracci Sr. VP SUSSEX, WI—Joel Quadracci has been promoted to senior vice president of sales and administration by Quad/Graphics, and has been named a member of the board of directors. Quadracci served as the company's vice president of print sales for the previous four years. Quad/Graphics | '
Gamma Chapter of Gamma Epsilon Tau, the | 10 |
Slain Rongo University student Sharon Otieno's ex-husband has finally spoken out close to one week after the body of the student was discovered in a thicket in Homa Bay county.
Mr Bernard Okuta spoke to Nation and dissuaded the country from speculating on the cause<|fim_middle|> Otieno having an affair with Obado's son? | of Sharon Otieno's death.
In his message to the nation, Mr Okuta has asked everyone to let the police and other investigating agencies to get to the bottom of the murder.
Mr Okuta exuded confidence that Sharon's killers will eventually be known.
In as much as he confirmed that Ms Otieno was married to him, he declined to speak about their marriage, saying that the matter is too emotive for him to comment on.
The middle-aged, dark-complexioned Okuta is a teacher at Rapogi High School in Uriri Sub-county, Migori County.
He was initially hesitant to speak to the media and only spoke after a colleague joined him.
"This matter is too emotive for me to comment. If I wanted to comment about it, I would have done so long ago. I would rather leave the matter to the police and other investigators to find out what happened. That is all I can say," the soft-spoken Mr Okuta said.
He maintained that the family spokesperson, Mr Joshua Okong'o, had said all that was necessary.
"What the spokesperson of the family said about the family of the deceased is enough. I will not say anything. Please go and talk to the police for more information," he said, then left for the staffroom.
Mr Okong'o had revealed that Ms Otieno had been married to Mr Okuta, and they had a son and two daughters.
"Her husband is a high school teacher," Mr Okong'o said, adding that the couple lived in the school compound.
Mr Okuta comes from Kamagambo in Rongo Sub-county, Migori County, and has been teaching at Rapogi High School for the last four-and-half years.
He graduated from the University of Nairobi with a bachelor's degree in education in 2013.
Sources said that Mr Okuta and Ms Otieno separated last year.
At the time of her death, she was living with her parents in Homa Bay County.
"The two separated a few months after Sharon joined Rongo University. They separated due to marital problems and Sharon relocated to her parents' home," said an employee at the school, who requested anonymity.
Previous Was Sharon | 449 |
Welcome to GOTV week. The letters G-O-T-V are plastered on whiteboards inside campaign war rooms across Idaho, and any candidate who admits to not knowing they mean "Get Out The Vote" does so at his or her own peril. True, early voting has been robust across the Gem State—particularly in Ada County—for nearly three weeks. But election officials statewide have braced themselves for unusually high voter turnout come Tuesday, Nov. 6, particularly for a midterm election.
"It's all hands on deck," said Rialin Flores, program director for Conservation Voters for Idaho. "It's knocking [on] doors, it's mailers, it's digital, it's phone calls, it's answering questions, it's making sure that you're getting what you need. It's all of those things, because I promise you: There will be races that come down to the last 100 votes. Every vote does matter."
CVI, which engages with voters year-round in every corner of Idaho who say they want to "create a political environment to protect the natural environment," hits full stride come election time. By election day, CVI staff and volunteers will have personally engaged with tens of thousands of voters who have yet to cast ballots.
"We do our work totally in a non-partisan way," said Flores. "Obviously, a good many people have come into this election cycle through a partisan lens. But statewide, what we know is that beyond their particular party affiliation, people care about conservation values."
Perhaps most importantly, CVI throws its endorsement and resources to select candidates. This fall, for example, CVI says it's endorsing no less than 30 candidates up and down the ballot, all hopefuls it says are "committed to protecting our lands, clean water and air for future generations."
That said, CVI is not offering its much-coveted endorsement in the state's highest-profile contest: the race between Republican Lieutenant Governor Brad Little and Democratic challenger Paulette Jordan to see who will be Idaho's next governor.
"We're not giving our endorsement to either candidate," CVI<|fim_middle|>200 votes two years ago. Things like outdoor recreation, public lands, clean water and clean air are the lifeblood of that community ... Keep a close eye on that race on election night."
The real game-changer in this election cycle? That would be the Latinx demographic—the growing number of Idahoans with Hispanic roots.
"That demographic is, undoubtedly, the future. We've brought on board a new voting rights associate, Antonio Hernandez. He's awesome. He'll be responsible for Latinx voter registration and engagement," said Flores.
With so much energy focused on the final days and hours of GOTV, you might assume that Washburn, Flores and their CVI colleagues are due for some rest come Wednesday, Nov. 7. Don't believe it for a second.
"After the election, we shift toward supporting the candidates who have survived the process," said Washburn.
And then there's the looming 2020 election, which will not only see the entire Idaho Legislature, but the White House on the ballot.
"The 2020 election cycle?" Washburn asked. "It feels like it has already started."
"I truly believe the race was about competency, about leadership, and not about partisan politics." | Executive Director Courtney Washburn told Boise Weekly. But CVI's lack of endorsement isn't due to indecision. In fact, Washburn said her organization feels anyone would be an improvement over lame duck Idaho Governor C.L. "Butch" Otter.
"Honestly, we didn't see the need to endorse [either Little or Jordan]. Both of these candidates reflect a dramatic change from the past. Both Little and Jordan bring their own conservation credentials," she said.
Absent any gubernatorial endorsement, CVI has made endorsements in two dozen Idaho House and Senate races. But Washburn is particularly enthused about a local race, the race for Ada County Commissioner, featuring Democrat Diana Lachiondo's challenge to Republican incumbent Jim Tibbs.
When asked who was the most impressive candidate in the current election cycle, Washburn said, "That's easy. It's Diana Lachiondo."
A fourth-generation Idahoan and director of community partnerships for the City of Boise, Lachiondo is a political newcomer. And she's taking on Tibbs, a 34-year veteran of the Boise Police Department and former member of the Boise City Council now seeking a third term on the Ada County Commission.
"Diana is a fascinating candidate. I think the last time there was a Democrat on the Ada County Commission was several years ago. Diana is running a different campaign and she's not taking anything for granted," said Washburn. "This is not an easy task. Running for office is one part of your political life. Governing is another part of your life, and those skillsets are often not the same. Diana, at least in my opinion, has the full package."
As far as Idaho legislative contests, Washburn said CVI is keeping a very close eye on the contest for Idaho House Seat 26 A, where Republican incumbent Rep. Steven Miller (R-Fairfield) is defending against Democratic challenger Muffy Davis of Sun Valley.
"I'm pretty excited about Muffy Davis. We're hearing that Steve Miller is way out of touch with constituents in the Wood River Valley, particularly on conservation issues," said Washburn. "Turnout in that race will be incredibly important because Miller won that seat by just over | 450 |
Home >> Awards >> Past >> The Council of Chief State School Officers
Home > Site Reviews Center > Archives > By Date > DECEMBER, 1997
S I T E R E V I E W
The Council of Chief State School Officers
https://ccsso.org/
GRADE LEVEL:<|fim_middle|> and assessment. The Frequently Asked Questions (FAQ) section of the site explains information available at the site. A great site for members and a good site for administrators and educators as well. | Professionals
This is the Web site for the Council of Chief State School Officers (CCSSO). Users will find headlines, publications and information related to the organization.
The site uses a standardized color scheme throughout. The layout uses frames. The text pages use a lot of spacing that make them easy to read.
Users can navigate within the site very easily. The frame format provides a menu on the left side of the page that lists all the sections of the site.
The Council of Chief State School Officers (CCSSO) is a national organization whose members are the public officials who head education departments in each state and the District of Columbia. Members also include the heads of education departments for Department of Defense Education programs. CCSSO reports member consensus on topics organizations, federal agencies, Congress, and the public about educational issues. The organization occasionally forms coalitions with other education organizations. Although membership is restricted to those individuals mentioned above the Web site provides information for non-members as well. Users will find publications, reports and news items on current state programs, education issues | 212 |
This brand new hotel is the city's new landmark that showcases a perfect blend between modern luxuries and lavish decor of the bygone era. The magnificent L'Arc Macau, with its Portuguese-influenced architecture, boasts an enviable location right in the heart of Macau, only 20 minutes away from the Macau International Airport and just a quick five-minute drive to the Macau-Hong Kong Ferry Terminal. The 301 spacious<|fim_middle|> For a truly wonderful place to rest while in Macau, make L'Arc Macau your accommodation of choice. | rooms and suites all feature floor-to-ceiling windows with spectacular views over the city skyline. Guests can be certain that their unit is well-appointed with modern conveniences such as LCD TV and broadband Internet access. The luxurious bedding along with overall earth-tone decors ensure a complete relaxation. The concierge and 24-hour room service are at guests' disposal, while the recreational facilities including an outdoor heated pool, fitness center, world-class spa facilities, and round-the-clock entertainment center are featured on the premises. A wide range of exceptional dining option can be found here to satisfy all types of taste buds. | 121 |
AI in Cities
The Potential of AI: An Opportunity for Cities
François Croteau
Mayor of Rosemont–La Petite-Patrie, City of Montréal
The rapid development of Artificial Intelligence (AI) and its application to everyday life represent an extraordinary opportunity, but also pose significant risks. For cities, this entails a profound evolution in the mode of governance, changes to the means of service delivery, and most notably, a transformation of neighbourhood life. These revolutionary changes can be likened to the advent of electricity to cities.
The comprehensive deployment of the Internet of Things (IoT) infrastructure that is required to support the continued development of artificial intelligence further complicates these challenges. To produce big data and improve the services available to citizens through AI, cities will need to integrate sensors, cameras and other technologies to enable the collection of data that feed AI analysis systems.
This gives rise to a number of observations. First, for a smart city to realize its full potential and ensure an improved quality of life for all its citizens, the deployment of an IoT infrastructure needs to be extensive and inclusive. Second, an IoT system ought to be accompanied by a model of governance and public policies that ensure the highest standard of ethics and social acceptability. Lastly, cities will need to re-examine their approach to governance and more specifically, reassess urban planning regulations and land-use planning practices.
Such changes are not without risks. The protection of<|fim_middle|> to privacy. Cities will need to ensure greater oversight thereby guaranteeing social acceptability.
A number of opportunities also emerge from such technological changes. These include, among others, the possibility to improve citizen services and the creation of new practices and approaches to reduce inequities. For an inclusive and smart city, local governments will need to adopt strategies to mitigate the digital divide. A smart city is one that does not exclusively deploy new technologies, but one that focuses on the improvement of processes to improve the quality of life of its population.
What's more, the production of big data via an IoT system will enable a deeper comprehension and management of urban issues such as mobility, commercial activities, parks and public spaces. With an open data policy, cities can encourage the community to participate in the improvement of civic processes and citizen services. It is already conceivable to have algorithms automize decision-making. This would certainly improve the wait time for service delivery, but also complicate matters of accountability that are essential to democratic systems.
The arrival of AI to city management has the potential to provide significant direct benefits to citizens and public managers. Nevertheless, cities will have to take up the challenge to guarantee to all citizens an ethical use of AI, to ensure the security of all citizens and realize the primary objective of a smart city – an improved quality of life for all its citizens.
Featured Image © Hussein Abdallah
François Croteau is Mayor of Rosemont–La Petite-Patrie for a third consecutive terme. He is also a member of the executive council of the City of Montréal responsible for issues of higher education, smart cities, information technology as well as innovation.
@FrancoisCroteau
How AI and Social Media Data Can Help Build Citizen-Centric Cities
Eyal Feder
Chief Executive Officer, ZenCity
Cultivating Trust in AI for Economic Growth
Valentine Goddard
Founder and CEO, Artificial Intelligence Impact Alliance (AIIA)
AI in Smart Cities: Privacy, Trust and Ethics
AI Ethics Researcher
Why Montréal Is Winning the AI Race
Senior Director, Business Development for the West Coast, Latin America and Entrepreneurship, Montréal International
Public Policy for Our Automated Urban Future
Nisa Malli
Senior Policy Analyst, Brookfield Institute for Innovation + Entrepreneurship | personal data and the right to privacy are non-negligible concerns. High level security systems are required to ensure socially acceptable storage and use of data. The fundamental question is: who can or has the right to deploy and own an IoT system? A number of recent examples illustrate the risks associated with the privatization of such a system, which could compromise the protection of personal data and the right | 79 |
The Academy of Board Certified Environmental Professionals (ABCEP) administers the Certified Environmental Professional (CEP) Program. This program provides eligible environmental professionals who possess special qualifications of education, experience, and accomplishment with the opportunity to be judged by a board of peers, and if they qualify, to be recognized for their accomplishments. ABCEP is a member of the Council of Engineering and Scientific Specialty Boards (CESB), which is the national organization responsible for accrediting engineering and technology certification programs.
The mentoring program provides candidates for the CEP a Mentor so they have support and a point of contact during their application process. The Mentor's role is to be there for these individuals and to answer questions so that the applicant has a valuable, personal, and direct link to insight about the application process." The mentoring program also provides the candidate with support for keeping the process moving along. Mentoring begins with the assignment of a Mentor to each candidate. when making assignments there is an attempt to match mentor and candidate geographically. Mentors contact the candidates, let them know who they are and why they called. The Mentor makes periodic contacts to see how the candidate is progressing on completing the application and to see if there are any questions.
The ABCEP Mentoring Program is a great resource for CEP-IT or the CEP candidate's. below are some benefits for either selecting a mentor or becoming one.
What can both the Mentor and the Mentee/Applicant receive from the relationship?
Mentoring helps both the Mentee/Applicant and the Mentor recognition their<|fim_middle|> can help you develop communication skills. Mentor and Mentee/Applicant can gain in the experience of talking to a younger or older colleague; and could help the Mentor interact better with immediate colleagues. Mentoring is also a networking opportunity.
The Mentee/Applicant may find themselves in a position where they are looking for a career change or new position.
Review the Mentee Overview and Refer to ABCEPs Mentee Manual.
Reviw the Mentor Overview and Refer to ABCEPs Mentor Manual. | abilities and limitations, thus highlighting areas for future development.
Mentoring helps prompt thought about career development and career potential.
Mentoring can help increase the motivation of both the Mentee/Applicant and the Mentor.
The Mentee/Applicant can gain new direction or perspective while the mentor feels a sense of achievement when their Mentee/Applicant succeeds.
Mentoring | 73 |
Rotana adds real value to the underlying assets of<|fim_middle|> progressive evolution of a property's core values must last the lifetime of any given space or facility. And that process is directed by proprietary Rotana building and room management systems that are dictated not just by two decades of experience or the number of Rotana hotels in operations, but by an individual property's needs.
Indeed our team continuously researches emerging trends in interior design, building materials or sustainable developments.
The latest generation of Rotana rooms is a perfect example of this holistic approach. Sophisticated, interactive, personalized spaces and facilities produce maximized revenue for brand and owner, while being more friendly to the environment. | every property under its management – but not simply through the deployment of our technical, commercial and staffing infrastructure.
Fundamental to the success of any hotel is the space its clients and staff inhabit. We bring the full weight of our design-planning and building management skills to the management mix, ensuring our guests receive the greatest enjoyment from the facilities offered, and the most effective use of those spaces from both a revenue and a health and safety perspective.
Fundamental to the launch of each new Rotana property is a concept-planning exercise that measures space requirements, prescribes food, beverage and guest facility-needs – right at the outset of build or refurbishment.
This analysis is turned into establishing guidelines for architects and interior designers. They represent the beginnings of a set of operational standards that – shared from the outset – allow quick adoption by a property's operational departments.
The | 172 |
<|fim_middle|>lekar. | MARGAO: While various names vying for the Congress Lok Sabha (LS) tickets are coming to the fore every day, the Leader of Opposition Chandrakant Babu Kavlekar has opined that the finalisation of names is at the final stage and will be announced soon.
Social media is abuzz with news of the scheduled Congress Central Election Committee meeting in Delhi. It is speculated that Congress has shortlisted two names each for North and South Goa. Sources have said that the names of Ramakant Khalap and Girish Chodankar have been shortlisted for the North and Francisco Sardinha and Valanka Alemao have been shortlisted for the South. The Leader of Opposition Babu Kavlekar, Goa Congress chief Girish Chodankar and other important Congress leaders are expected to attend this meet. Kavlekar while speaking about the aspirants for the Congress LS tickets said, "The number of aspirants for Congress ticket has increased due to the Congress favouring climate in the State and country." When asked whether he is expecting a rebellion he replied, "There won't be a rebellion. Asking for ticket is a right but rebelling and giving benefit of division of votes is not going to happen" said Kav | 257 |
"Have a place for everything and keep the thing somewhere else; this is not advice, it is merely custom." – Mark Twain
Advice quotes May 6, 2010
"Have a place for everything and keep the thing somewhere else; this is not advice, it is merely custom." – Mark Twain
In Advice quotes
"Good advice is always certain to be ignored, but that's no reason not to give it" – Agatha Christie
"Good advice is always certain to be ignored, but that's no reason not to give it" – Agatha …
"The only thing to do with good advice is to pass it on. It is never of any use to oneself." – Oscar Wilde
"The only thing to do with good advice is to pass it on. It is never of any …
"I believe God is managing affairs and that He doesn't need any advice from me. With God in charge, I believe everything will work out for the best in the end. So what is there to worry about." – Henry Ford
"I believe God is managing affairs and that He doesn't need any advice from me. With God in …
"I owe my success to having listened respectfully to the very best advice, and then going away and doing the exact opposite." – G. K. Chesterton
"I owe my success to having listened respectfully to the very best advice, and then going away and …
"My advice to<|fim_middle|>ed, what's left to create the illusion? Let 'em wonder. I never believed in givin' them too much of me." – Mae West
"My advice to those who think they have to take off their clothes to be a star is, …
"Never give advice unasked" – German Proverb
"Never give advice unasked" – German Proverb
"The things that we love tell us what we are." – St. Thomas Aquinas
"The things that we love tell us what we are." – St. Thomas Aquinas
"If the Almighty were to rebuild the world and asked me for advice, I would have English Channels round every country. And the atmosphere would be such that anything which attempted to fly would be set on fire." – Winston Churchill
"If the Almighty were to rebuild the world and asked me for advice, I would have English Channels …
"I never take advice from anyone more messed up than I am" – Tom Hopkins
"I never take advice from anyone more messed up than I am" – Tom Hopkins
"To accept good advice is but to increase one's own ability" – Johann Wolfgang von Goethe
"To accept good advice is but to increase one's own ability" – Johann Wolfgang von Goethe | those who think they have to take off their clothes to be a star is, once you're bon | 20 |
As we enter a period of unprecedented economic uncertainty, Des Gould considers whether now is the time for a new approach to leadership?
In describing the current economic crisis, many economists are drawing parallels with the Great Depression of the 1930's. But while there may be similarities, the circumstances of today's crisis are radically different. Possibly the most significant difference is that whereas in the 1930's our domestic economies were relatively autonomous, today they are inextricably linked – that is why the excessive sub-prime lending in the US was capable of precipitating a global crisis.
It is therefore likely that the solutions, whatever they may prove to be, will require innovative thinking and new approaches.
Some would argue that during the last few decades our business leaders have become more sophisticated as a result of better information systems, better forecasting and innovative financial vehicles. But the question I would ask is whether the nature of leadership itself has changed all that much?
I would argue that our leaders and managers are so addicted to the "just-do-it" (JDI) culture that they often leave too little time to think things through.
Our predominant way of thinking is 'dualistic' - right and wrong, black and white, good and bad - you may recall President George Bush saying with reference to the war in Iraq; "You are either with us or against us".
While dualistic clarity can be helpful and should be applauded in some situations, it should not be the only way in which we think.
All too often answers are not black or white but shades of grey.
We can and do think beyond dualism in other areas of our lives, but it seems that the practice is rare amongst the senior business leaders.
Possibly the reason for this is the pressure of time. We feel that we must make quick decisions because the clock is ticking.
Here is a story told to me by a very bright consultant I will refer to as "JD".
JD was hired to observe a client company in action. There was a crucial issue that the top team had to crack. The CEO got them all together, and they were ensconced in a room for 11 hours. There were 18 of them. So that's a lot of key executive hours. If their time is worth $2000 per hour, times 11, times 18, I make that close on half a million dollars.
Once posturing, politics, power games and the like were deducted, along with natural breaks, his conclusion was that there was just 1 hour of really productive time. Arguably the posturing and politics are necessary, but not 10 hours worth, surely?
He presented his findings to the boss, who agreed that the group had used their time ineffectively. JD suggested a workshop where the top team would learn key skills and awareness, so the waste may never happen again and the overall productivity of the business would increase. He was turned down by the CEO on the basis that they didn't have time!
A couple of issues jump out at me as a result of this story.
First, is JD being naive in thinking that corporations are about profit? Are they not really about power? Aren't the posturing and the politics part of the game?
Second, and I am indebted to JD for this, is the insight that there may well be four types of time, and that we are addicted to just one of them.
The Four<|fim_middle|> contacted at . | types of time.
1) Measured time. The kind we most often experience. Divided artificially, rationed out, allocated for efficiency. Clock time.
2) Reflective time. Concentrated, working time: you are writing, planning, thinking, solving problems.
3) Contemplative time. Slow, quiet, meditative. Different from reflective time because it is primarily receptive.
4) Present time. Ecstatic, often high energy. Time that is spent experientially and in the moment.
I find it interesting that measured time is referred to as 'artificial', and 'rationed out', implying that there is a shortage, which is not apparent when we work in the other types of time.
Measured time dominates our lives. We regard it as logical, rational, scientific, pragmatic and the only approach that works. But does it? Is it sufficient in the face of real complexity?
In my opinion the answer is 'no'. To solve the challenges of today, leaders need to reject the habit of imposing artificial time constraints on decision making. They need to create more time for reflective and contemplative thinking.
Des Gould is a professional Coach and can be | 236 |
Riotous ending to the regular season
stuhackel
The emergence of the Ducks and Corey Perry (10) as a 50-goal scorer and bona fide Hart Trophy (MVP) candidate are among the many late-season surprises and thrills on tap this year. (AP Photos)
By Stu Hackel
There are times<|fim_middle|> overtime goal against the Blues...
... sealed a victory the Hawks needed to reverse their own bad patch of having lost three of their last four. Chicago had to rally from an early deficit to do it, and the play that had everyone talking was the one that got them started: the goal awarded to Marian Hossa when the Hawks trailed 2-0. Here's the video of that one in real time and the long review with lots of angles and lots of reversing of opinions by Ed Olczyk on the Hawks' telecast:
The two main questions were: did the puck cross the line and how? Was it kicked by Hossa or did he manage to graze it with his stick before it went in? On the first part, there's no clear angle and, as we discussed and showed a week ago, the ruling on the ice stands when there is no conclusive video evidence to overturn it. In this case, referee Dan O'Halloran called it a goal and no angle indicated otherwise.
As for whether Hossa tipped the puck, here's the best view we've found:
At the nine-second mark of this video, we assume, those who reviewed the play determined that Hossa's stick blade grazed the puck and thus negated his kicking it, which would have made it a no-goal call.
All of this accomplished something we thought we'd never see: It left Jeremy Roenick speechless.
Well, mostly speechless.
The craziness continues tonight, but don't expect to see J.R. go mute again. Maybe ever.
It's the time of the season for NHL coaching upheaval
By stuhackel
Cherry is an early season bomb
No end to Islanders' woes
Boston Bruins must focus on strong end to regular season
By SI Staff
Buffalo's dark season
A 'Yes' with a season in the balance
Tentative deal reached to end lockout
Messy Cammalleri trade another hard chapter in Habs' season of calamity | when a hockey blogger struggles to find something worthwhile to write about. You just run out of ideas. But now, 1,200 games have been played, only 30 remain, and when the regular season dwindles to a precious few days and the races for playoff positions -- so hotly contested these last six months -- hang on every shift, there is no shortage of storylines. In fact, there can be too many. Today is one of those days.
The NHL has taken to releasing daily fact sheets on the ultra-competitive nature of this season. One mind-boggling release shows just how wide-open the playoff races are four days shy of the finish line. Wanna know where your team will end up and who it might play in the first round? Fuhgetaboutit. It will go down to the last day.
Here are today's standings of the teams that are still in the hunt and where they can potentially finish in each conference:
Capitals: 1st or 2nd
Flyers: 1st, 2nd, 3rd or 4th
Bruins: 2nd or 3rd
Penguins: 2nd, 3rd, 4th or 5th
Lightning: 4th or 5th
Canadiens: 6th, 7th or 8th
Sabres: 6th, 7th, 8th or 9th
Rangers: 6th, 7th, 8th or 9th
Hurricanes: 9th 7th, 8th or 9th
Canucks: 1st
Sharks: 2nd or 3rd
Red Wings: 2nd or 3rd
Kings: 4th, 5th, 6th, 7th or 8th
Predators: 4th, 5th, 6th, 7th, 8th or 9th
Coyotes :4th, 5th, 6th, 7th, 8th or 9th
Ducks: 4th, 5th, 6th, 7th, 8th or 9th
Blackhawks: 5th, 6th, 7th, 8th or 9th
Stars: 5th, 6th, 7th, 8th, 9th or 10th.
The Flames were extinguished on Wednesday night, but the Stars behind them are still shining because they have two additional games left to play.
But look at the rest of this mess: 97.6 percent of the schedule has been played and only one of these teams -- only ONE -- can't potentially move up or down. Many hockey fans and observers grumble about the loser's point and lowest common denominator-enforced parity in today's NHL -- and not without justification. We can have a good debate on the worth of having dynasties in the game and how they help build team and player recognition as well as fan interest. But it's pretty damn dramatic when so many fates are still undetermined and so many fan bases have reasons to stay interested this late in the regular season.
What this all means when the pucks are dropped is that the games reflect the unpredictable and fluid nature of the standings. How else can you explain teams roaring back almost every night it seems from one, two and three goals down to grab two points when they need them most? Or star players showing why they are star players, turning up their game to push their clubs ahead?
Take Corey Perry. His amazing offensive explosion during his last 28 games -- 25 goals, 21 assists -- has kept the Ducks in the race as they bobbed up and down the Western Conference standings. Anaheim had dipped to a low point 20 games ago -- the 11th spot -- but has since gone 14-5-1. In the process, Perry took over the league's goal-scoring lead from Steven Stamkos, and on Wednesday night became the first player to hit 50 this season while showing great skill, strength and determination with this hat trick against a very good San Jose team:
It was a game the Ducks needed to win to avoid a third straight defeat and stay ahead of the Blackhawks, who also won. Anaheim fans chanted "MVP! MVP!" for Perry, whose very impressive second half could give him top-of-mind awareness when voters decide the Hart Trophy. And earlier last night, Chicago's fans roared for their team's leader, Jonathan Toews, whose | 966 |
IU thrills students with surprise school visit
IU leaves Gimje Girls' High School in North Jeolla Province, Thursday, after giving a surprise mini-concert at the graduation ceremony. Screen capture from YouTube
By Ko Dong-hwan
K-pop solo act and actress IU reduced students at a Gimje high school to a frenzy on Thursday with a surprise visit and mini-concert.
The star visited Gimje Girls' High School in North Jeolla Province for the graduation ceremony.
As she stepped up on to the stage in the auditorium, the students screamed in excitement. In a video clip posted on YouTube, a stunned student can be heard saying, "I cannot believe she is actually here!"
The Kakao M star's visit came after a promise she made to one of the graduates at a fan meeting last year. The fan had asked her to come to the ceremony.
IU at a fan meeting to mark the 10th anniversary of her debut. The meeting was held at Universal Arts Center in Gwangjin-gu, Seoul, in September last year. Courtesy of Kakao M
Wearing a long khaki coat, IU, 26, sang two tracks. She forgot a snippet of lyrics when singing "BBI BBI" but smiled about it, saying "I forgot this part of lyrics."
Security guards held back the crowd when it pushed closer to the stage. A female school instructor with a microphone advised the crowd to calm down. The instructor also reminded the graduating third graders that the star had provided the bouquets of freesias presented to each graduate, causing another joyous outcry.
IU told the students she had asked the faculty to keep her arrival secret from the students.
IU invited the fan, whom she called "Jiho," on to the stage and introduced her to the students. The star gave the fan perfume and body lotions.
The students held on to IU until the last minute, escort<|fim_middle|> left.
aoshima11@koreatimes.co.kr More articles by this reporter | ing her to her minivan as she | 8 |
The Lost Thing, Royal Opera House, Linbury Theatre review ★★★★★
07 Dec 19 – 04 Jan 20, 28 performances, at 2:15PM and 7:15PM on most days
Covent Garden's Christmas show is based on Shaun Tan's enchanting book about a boy who finds a curio on the beach
By Claudia Pritchard on 10/12/2019
3 CW readers are interested
Shaun looks after a stranger in The Lost Thing. Photo: Stephen Wright
The Lost Thing, Royal Opera House, Linbury Theatre review 4 The Lost Thing, Royal Opera House, Linbury Theatre review Claudia Pritchard
Like a giant bunch of carrots, shivering, quivering and wrestling with itself, the restless Thing in The Lost Thing rolls around the stage with its young finder, Shaun, in pursuit.
Here an arm, there a leg, this 16-limbed tangle of orange and leaf-green is Shaun's bizarre discovery on the otherwise grim beach near the forbidding, anonymous streets of his futuristic city. Air ships cruise in the colourless sky above the grey tower blocks. His parents' living room sports spotty wallpaper, but their<|fim_middle|> ★★★★★
The Tiger Who Came To Tea, Theatre Royal Haymarket
Birmingham Royal Ballet, The Nutcracker 2019, Royal Albert Hall | world view is darkly pessimistic.
When Shaun shepherds The Thing to his home, his father rejects the stranger because it may carry germs and his mother regards the family as a sealed and closed unit. But Shaun hides The Thing in his bedroom, where the wallpaper shows endangered species and some of Nature's other weird and wonderful creations – the three-toed sloth, the armadillo. For make no mistake, The Thing is a living creature, just not one that we recognise.
Like The Tiger Who Came to Tea, The Lost Thing is about accepting the other, with clear messages for those in society who are hostile to strangers and diversity. And diversity is at the heart of this debut production of The Lost Thing by composer and lyricist James Maxwell, adapting for the stage Shaun Tan's much-loved book, first published in 2000.
A co-commission and co-production by the Royal Opera and Candoco Dance Company, The Lost Thing features music-making and dance by artists with and without physical disabilities, so extending the range of what is possible on stage. Shaun is played by the American-born dancer, now a Londoner, Joel Brown, whose wheelchair helps him keep up with the rangy Thing.
Brown proves to have an attractive, open singing voice, and Shaun's narrative is taken up too by the Greek chorus-like ensemble of five zoot-suited singers, who also act out the characters Shaun encounters on their quest for a safe haven for The Thing.
The Federal Department of Odds and Ends enjoys its work, in The Lost Thing. Photo: Stephen Wright
Cue languid friend Pete (counter-tenor Collin Shay), whose verdict 'Cool' is the highest praise, the dull parents (baritone Peter Braithwaite and soprano Victoria Oruwari), a ferocious official (soprano Melanie Pappenheim) and kindly janitor (mezzo-soprano Bethan Langford). While the piece builds slowly, the swinging up-tempo number 'Sweepus Underum Carpetae', that opens Act Two is a showstopper, with dancer Laura Patay adding extra zing.
When Shaun turns for help to the bureaucratic Federal Department of Odds and Ends he encounters a comical mountain of paperwork and obfuscation. The whole tale is wrapped in a reminiscence, Shaun swopping his rucksack for spectacles to switch instantly between youth and middle age.
The four dancers who make up The Thing worked with director and choreographer Ben Wright on its organic and shape-shifting movement. Costumes by Rike Zöllner pick up the bleached palette of Shaun's grey world, while the set and and vivid video back projections by Will Holt are faithful to Shaun Tan's magical book.
Maxwell's music mines the best of 20th-century light music genres and binds them with a luminous, incantatory thread. The six busy on-stage instrumentalists – strings, reeds, piano and percussion, directed by Timothy Burke – create a world of colours. For the grey landscape finally gives way to something brighter in a coup de theâtre with meaning for the whole planet.
The Lost Thing is a kind, thought-provoking, and affecting family show that ignores the artificial lines between dance, opera and different abilities. This Christmas it tells in a new way the story of a helpless stranger in need of a home.
The Lost Thing is sung in English, with English surtitles. Matinees on 15 Dec and 4 Jan are relaxed performances; performances on 19 Dec and 21 Dec (matinee) are interpreted into British Sign Language; an audio-described performance with touch tour is on 29 Dec (matinee)
What The Lost Thing, Royal Opera House, Linbury Theatre review
Where Royal Opera House, Bow Street, Covent Garden, London, WC2E 9DD | MAP
Nearest tube Covent Garden (underground)
When 07 Dec 19 – 04 Jan 20, 28 performances, at 2:15PM and 7:15PM on most days
Price £7-£35
Website Click here for more information and booking
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The Royal Albert Hall: Christmas season highlights
Best Covent Garden Opera and Dance this winter
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Opera Holland Park 2020: the stars, dates and must-sees
We recommend nearby
Petersham Nurseries, Covent Garden
Two new Petersham Nurseries restaurants have opened in Covent Garden, and both are to die for. The Petersham offers lunch and dinner menus grounded in a slow food approach, while La Gaccia provides a more laid-back all-day affair.
Cora Pearl, the second restaurant from the team behind Kitty Fisher's, takes its name from the infamous 19th-century French courtesan. The menu, consisting of both French and British influenced cuisine, is deceptively simple, with cheese and ham toasties, fish stew, and chocolate ganache on offer.
Mamie's
Make everyday pancake day. Serving exquisite savoury and sweet crêpes, from childhood favourites like lemon and sugar to more sophisticated combinations, Mamie's may well be the home of the best pancakes and galettes in London.
The Royal Ballet, Coppélia review ★★★★★
Alice's Adventures Under Ground, Royal Opera House review ★★★★★
Love Classical 2020, Royal Albert Hall
The Royal Ballet, The Sleeping Beauty review | 1,162 |
He (al-K<|fim_middle|> over which thou wast unable to hold patience. | hadr) said: "This is the parting of ways between me and you. I will tell you the meaning of what you were unable to bear patiently.
He said: this shall be the parting between me and thee; now I shall declare unto thee the interpretation of that wherewith thou wast not able to have patience.
He said, "This is the parting between you and me; I shall now tell you the interpretation of the matters you could not patiently bear."
So they set out until when they came to the people of a city; and they asked the people thereof for food; but they refused to entertain them. And they found therein a wall which was about to fall into ruins, and he repaired it. Said Moses, "Had you pleased you could certainly have had payment for this."
He said: "This (is) separation between me and between you, I will inform you with (an) explanation/interpretation on (of) what you were not able (to have) patience on it."
Khizr replied: "That's it, this is the parting between you and me. But first I will explain to you those acts of mine which you could not bear to watch with patience.
So they went on, until, when they came to the people of a town, they asked its people for food, but they refused to entertain them as guests. Then they found in it a wall which was on the point of falling, so he put it into a right state, (Moses) said: If thou hadst wished, thou couldst have taken a recompense for it.
He replied, "This is where we should depart from one another. I shall give an explanation to you for all that I have done for which you could not remain patient.
He said: This is the parting between thee and me! I will announce unto thee the interpretation of that thou couldst not bear with patience.
(Khidr) said: "This is the parting between me and you, I will tell you the interpretation of (those) things over which you were unable to hold patience.
He answered: "This is the parting between me and thee: now will I tell thee the interpretation of (those things) | 457 |
A beautiful purple orchid :) What a sweet hubby. I appreciated his sweet thoughtfulness at the end of a rough day.<|fim_middle|> we survived. We're not sure why he was up as he wasn't sick, but I wondered if it was due to hitting his head pretty hard right before bed time.
On Saturday Matt got some painting done in the morning. After Ethan's nap we went over to Matt's parents house and had some yummy BBQ and swam for a bit. This was Ethan's first time in the big pool this year and he LOVED it. It was pretty cold so we didn't last very long, but he had fun none the less.
I got him one of those swim suits with a built in life vest to see how he'd do. It was a tad big for him and kept sliding up.
This boy LOVES the water! | They definitely brought a smile to my face. Now if I can keep them alive that will be great. I seem to have bad luck with orchids.
Yesterday I was feeling crafty and finally got around to making a couple of flower pins. I found this tutorial and it only took me a few minutes to make each one. I plan on making a few more in different colors. I want to pin them to plain tank tops to add a little oomph.
I have a gardenia bush next to them and it has tons of blooms this year. They smell heavenly!
Stephen was pretty tuckered out himself.... and fell asleep after about a half hour :) Ethan also fell asleep as soon as we got into the car.
Friday night we enjoyed dinner with the Flores family. The weather was beautiful and we ate on our back patio. We had some very yummy pork tenderloin. Unfortunately that night Ethan was up for three hours in the middle of the night which resulted in Matt and I being VERY tired on Saturday, but | 207 |
The Indiana<|fim_middle|> became known as county commissioners. | County Commissioners oversee the financial, administrative, and public affairs of the County. Part of that oversight involves ensuring that our economic development program is strategically structured for accessing a vast array of resources and that our business climate is conducive for local companies to prosper and grow.
The Indiana County Commissioners have taken a leadership role in making it easier for our employers to conduct business here and all over the world. The Commissioners help them navigate governmental channels and coordinate access to services and support that will help employers achieve success. As an outreach effort, they call on businesses to understand better how to build successful enterprises.
The Indiana County Commissioners work with state and federal officials to improve transportation, water and sewer infrastructure, and quality of life for residents and businesses alike. The Commissioners are currently working on a project to expand broadband internet access throughout Indiana County.
The Commissioners integrate and coordinate countywide economic development efforts through the Center for Economic Operations. Many of the County Commissioners' initiatives are carried out through the Indiana County Office of Planning and Development (ICOPD).
On behalf of the County Commissioners, the ICOPD administers two low-interest loan programs for businesses – the Indiana County Revolving Loan Fund (RLF) and the Greater Indiana Enterprise Zone Loan Fund (EZLF). The staff helps businesses assemble an appropriate mix of local, regional, and state financing programs for their specific projects and provides credit analysis on the two loan programs directly administered by the ICOPD.
The Commissioners are also directly responsible for other projects in the County. The ICOPD arranges for housing services, such as emergency repair and handicap access.
The County oversees zoning, reviews commercial and residential subdivision plans, and participates in projects of significance to the community, such as the Jimmy Stewart Airport Runway Expansion.
And, for a majority of the County's municipalities, the ICOPD administers the Universal Construction Code (UCC) permit process for commercial and residential construction.
The Indiana County County Commissioners are committed to the well-being of the County and its citizens through these efforts and many others.
If you would like additional information about the Indiana County Board of Commissioners and how they serve the community, please visit the Indiana County website or call 724-465-3805.
William Penn is reported to have started the system of county commissioners here in Pennsylvania in colonial times. In the 1600s, he suggested using a body of elected officials to govern the local affairs of the new colony. These groups | 494 |
Now is the time to lovingly make these adorable gift soaps everyone will love!
This post contains affiliate links. I may make a commission from any purchases you make through these links without any extra cost to you. This is how I make sure I can continue to share more DIY posts with you.
Thanksgiving is fast approaching which means Christmas is only around the corner. I remember it was last year around this time that my millennial children descended upon us. They were lovingly doting and warming up our empty nest. There was so much excitement that we got to spend the precious next several days together. Oh what to do? There's hiking, late harvesting of herbs and fruit, peeling apples for pies, and all the prepping that goes into the "to die for" gravy, stuffing, "Aunt Gertrude" Corn Pudding, sweet potatoes, fresh cranberry, and all that entails with cooking Thanksgiving feast together. I could already smell all the ingredients and the rich turkey aroma wafting in the air. And of course, let us not forget the one of our most treasured times making candles, soaps, lotions and potions together with my daughter.
My husband and I raised the kids with the love for the outdoors and make things from natural ingredients to enhance our quality of lives. Since the kids were young, three years old on up, I've involved them in helping with baking, cooking, how to "finger knit", roll beeswax candles, paint, making pottery with clay. As they got older, I involved them in tasks to match their finer motor skills like peeling carrots, measuring ingredients, collecting and cracking fresh eggs, hand stitching, knitting, pouring soaps and candles.
So it was natural that we went hiking the morning after their arrival and when we came home, it was soaps and lotions making time! This was one of the most treasured and enjoyable time together, as the four of us gathered in the kitchen, the girls making soaps and the boys prepping ingredients for Thanksgiving dinner.
I brought out my arsenal of beeswax beads, essential oils, emulsifiers, sheya and cocoa butters, tins for lotions, tubes for lip balms, molds for soaps. We made many items to last us the whole year as well as hostess gifts.
Instead of using a double boiler which I didn't have, I used a Quart size Mason Jar to melt the soap base. I simply put the chunks into the jar and immersed it into a pan, at almost boiling point, filled with water half way to the jar (Note: water in the pan NOT in the jar with the soap base).
Alternatively, you can melt it in a bowl covered with a paper towel and set it for 20 to 30 seconds intervals, checking and stirring in between.
I sacrificed my plastic chopsticks to stir and they remained in my soap making toolkit. That's the reason I prefer using my Mason jar because it stays in my supply kit as well and can be re-used the next time I make soaps. This way I don't have to worry about cleaning additional tools and equipment each time.
VARIATIONS: We made three different variations of this recipe, Sweet Almond with Oats, Lavender, and Rose. Each time using the same soap base, adding different essential oils and toppings. See below.
At this point, you can do different<|fim_middle|> the kitchen and at the bathroom sinks.
Hope you'll try and make these for your use. I'm sure you'll love them as much as I do. This is a great time to make some and give them away as gifts!
How are you making soaps now and do you have any tips or recipes you's like to share? Good luck on trying this recipe and let me know how it works out.
Here is a bonus video on how to roll your beeswax candles for year round or holidays tables. | variations like I've shared earlier. Keep the vitamin E oil, just substitute the Almond oil and the Oats for the variations that you like to try, either Rose or Lavender.
Dislodging: When the soaps are solid, turn the molds upside down over a rack lined with wax paper and twist the mold to release the soaps. This is the moment of your glory!
This is the funnest part for me! I waited till the soaps are completely dried the next day and wrapped them in a variety of ways that you can see from the pictures.
I give some of these soaps to my grown children, keep some for our use, and have given them away as Hostess gifts. Almost a year later, after my 3 batches of soaps, I still have 3 left in my inventory. They are overwhelmingly lovely to use at | 175 |
search filter All ContentMusic Perception
Registered Reports
Review: Interpersonal Musical Entrainment
Background and Operational Definitions
Measuring Entrainment in Musical Ensembles
Interpersonal Synchronization in Music Ensembles: Onset-based Comparative Analysis
Modeling IME
Interpersonal Entrainment in Music Performance: Theory, Method, and Model
Martin Clayton;
Martin Clayton
Durham University, Durham, United Kingdom
Martin Clayton, Durham University, Music Department, Palace Green, Durham DH1 3RL, United Kingdom. E-mail: martin.clayton@durham.ac.uk
Kelly Jakubowski;
Kelly Jakubowski
Tuomas Eerola;
Tuomas Eerola
Peter E. Keller;
Peter E. Keller
Western Sydney University, Sydney, Australia
Antonio Camurri;
Antonio Camurri
University of Genoa, Genoa, Italy
Gualtiero Volpe;
Gualtiero Volpe
Paolo Alborno
Music Perception (2020) 38 (2): 136–194.
https://doi.org/10.1525/mp.2020.38.2.136
Martin Clayton, Kelly Jakubowski, Tuomas Eerola, Peter E. Keller, Antonio Camurri, Gualtiero Volpe, Paolo Alborno; Interpersonal Entrainment in Music Performance: Theory, Method, and Model. Music Perception 25 November 2020; 38 (2): 136–194. doi: https://doi.org/10.1525/mp.2020.38.2.136
Interpersonal musical entrainment—temporal synchronization and coordination between individuals in musical contexts—is a ubiquitous phenomenon related to music's social functions of promoting group bonding and cohesion. Mechanisms other than sensorimotor synchronization are rarely discussed, while little is known about cultural variability or about how and why entrainment has social effects. In order to close these gaps, we propose a new model that distinguishes between different components of interpersonal entrainment: sensorimotor synchronization—a largely automatic process manifested especially with rhythms based on periodicities in the 100–2000 ms timescale—and coordination, extending over longer timescales and more accessible to conscious control. We review the state of the art in measuring these processes, mostly from the perspective of action production, and in so doing present the first cross-cultural comparisons between interpersonal entrainment in natural musical performances, with an exploratory analysis that identifies factors that may influence interpersonal synchronization in music. Building on this analysis we advance hypotheses regarding the relationship of these features to neurophysiological, social, and cultural processes. We propose a model encompassing both synchronization and coordination processes and the relationship between them, the role of culturally shared knowledge, and of connections between entrainment and social processes.
entrainment, sensorimotor synchronization, interpersonal coordination, cross-cultural, ethnomusicology
Entrainment describes the temporal dynamics of interacting rhythmic systems. The essence of interpersonal musical entrainment (IME) is the interaction and coordination of human beings mediated by sound and movement. Although interpersonal entrainment has been studied in various contexts including conversation (Richardson, Dale, & Shockley, 2008; Shockley, Santana, & Fowler, 2003), spontaneous clapping (Néda, Ravasz, Brechet, Vicsek, & Barabási, 2000), and sports (Cohen et al., 2010), music is an important focus for this study since it affords forms of coordination that are particularly precise, complex, periodic, and flexible, and that appear to be essential to social or ritual events that participants find richly and intensely meaningful (Clayton et al., 2005). Music and dance are important contexts in which the potential of interpersonal entrainment to generate affect and reinforce social bonds is exploited to the fullest degree. Understanding the processes underlying this phenomenon and the ways in which this coordination might vary cross-culturally is vital to advance understanding of interpersonal human coordination and collaborative action in general.1
The aim of this paper is to present analyses of interpersonal musical entrainment considering a range of musical and cultural factors, and in the final section to present a new model of IME that compares and contrasts two distinct components, labeled here synchronization and coordination. By sensorimotor synchronization (SMS) we refer to a largely automatic process of temporal alignment manifested especially with periodic rhythms in the 100–2000 ms timescale; by coordination, we point to a separate process of structural alignment of individual parts, which extends over longer timescales and is more accessible to conscious appraisal and control. Synchronization (SMS) is the subject of a considerable body of literature, much of it based on experimental tapping studies (Repp, 2005; Repp & Su, 2013). Coordination is also the subject of a significant body of writing—although the phenomenon is less consistently named—for example, in studies of coordinated body movements (Clayton, 2007b; Eerola, Jakubowski, Moran, Keller, & Clayton, 2018; Ginsborg & King, 2009; Williamon & Davidson, 2002). Past studies have either concentrated on one or the other exclusively or have considered both without drawing attention to the distinction: few have considered both components or explored their relationship (see e.g., Bishop & Goebl 2017; Keller, 2014; Ragert, Schroeder, & Keller 2013). Building on the foundation of past research, we draw out the distinctions between these phenomena much more explicitly. We propose that doing so, and beginning to explore the relationship between the two components, brings greater clarity to the study of IME.
The work of bringing the complementary components of synchronization and coordination together is necessarily an interdisciplinary endeavor, since different disciplines have focused to a greater extent on one or the other. SMS clearly lies within the purview of experimental psychology, relating as it does to topics such as time perception and motor control. Although individuals synchronize with each other in dyads and larger groups, much of the literature analyzes individuals responding to pacing signals (Repp, 2005; Repp & Su, 2013): this focus is carried through into descriptions of musical entrainment that assume a single listener entraining to a musical stimulus, rather than a group of individuals mutually adjusting in a social context. The phenomenon we term coordination concerns the management of performance and shared understanding of musical structure and process and is often the topic of conscious control and explicit negotiation between individuals. While also of interest to psychology in discussion of topics such as prosociality and entitativity, and more broadly under the rubric joint action (Cirelli, Einarson, & Trainor, 2014; Keller, 2008; Keller & Appel, 2010; Kirschner & Tomasello, 2010; Wiltermuth & Heath, 2009), coordination also attracts interest from anthropologists, sociologists, and ethnomusicologists—disciplines more concerned with social processes. As we will demonstrate, the relationship between synchronization and coordination is not always dichotomous: indeed, we argue that a thorough understanding of IME depends on consideration of both and of their interrelationship. One of the contributions we aim to make is to avoid the reduction of IME, a complex and multi-layered phenomenon, to SMS: if we assume that the demonstrated prosocial and bonding effects of entrainment are to be explained purely in terms of synchronization dynamics, for example, we may entirely miss a vital component of the process.
If these two components of our model have different disciplinary foundations, this carries through into different approaches to data collection and analysis. SMS has long been studied using time series data, whether from tapping experiments or extracted from audio performance recordings. Different analysis methods may be preferred depending on whether a linear or nonlinear mechanism is assumed—asynchrony measures vs phase analysis—but for most purposes these two approaches would produce analogous results. It is less clear from the literature how to analyze the longer-scale processes of coordination through which musical structures are aligned. Since coordination seems often to be manifested in coordinated movement, however, previous studies provide some precedents as to how this may be achieved using time-series data derived from video or motion capture data (Clayton, Jakubowski, & Eerola 2019; D'Ausilio et al., 2012; Eerola et al., 2018; Glowinski, Badino, Ausilio, Camurri, & Fadiga, 2012; Glowinski et al., 2013; Jakubowski et al., 2017). In the comparative data analysis we present in the section Measuring Entrainment in Musical Ensembles of this paper, synchronization is studied using an asynchrony-based approach pioneered by Rasch in the 1980s: the novelty of our analysis is in applying this method to diverse corpora, increasing the reproducibility of onset detection and comparing six very different musical traditions. Our coordination analysis deploys cross-wavelet transform (CWT) analysis on performance videos to explore the hypothesis that performer movements become more coordinated around musical points of change.
We aim, then, to explore empirically these two components of IME—synchronization and coordination—in diverse musical genres. We explore the distinction and its phenomenal, mechanistic, and sociological origins. We compare and contrast these two ideas, which are presented as dichotomous for historical and rhetorical reasons, with the ultimate aim of transcending the simple dichotomy and creating a nuanced model that bridges the dimensions of timescale, methodological approach, and disciplinary focus. We explicitly compare the music of different cultures in order to begin to explore what role "culture" may play in IME. We carry this study out with explicit reference also to distinct disciplinary histories, bringing those intellectual trajectories into contact with the aim of fostering interdisciplinary cooperation (Jacoby et al., 2020).
In the next section, we review literature relating to core aspects of IME, especially as they relate to musical performance. Following an introduction to the topic in the section Background and Operational Definitions, the section Foundations of Musical Entrainment addresses IME's foundations from evolution and development through neuroscience and physiology before summarizing existing models of synchronization; the section Social and Cultural Dimensions of Musical Entrainment addresses social and cultural aspects of IME and discusses the role they should play in an expanded model of IME. We argue: a) that entrainment in musical contexts is an important component of interpersonal coordination in general; and b) that the diversity of such contexts means that in order to advance understanding, the phenomenon needs to be studied cross-culturally and its relationship to other social and cultural processes explored. We then outline measures of interpersonal entrainment in musical production (derived from both auditory and visual data, section Measuring IME). Using asynchrony calculations of a large and diverse collection, we present the first published cross-cultural summary and comparison of the synchronization between co-performers and explore the factors that account for variation in this data (section Interpersonal Synchronization in Music Ensembles: Onset-based Comparative Analysis). We also explore movement coordination between performers, using video data, in another novel cross-cultural analysis (section Interpersonal Coordination in Music Ensembles: Continuous Data From Ancillary Movements). Through these exemplar analyses we help to clarify which aspects of IME may be culturally variable, and which may vary little or not at all with culture. Finally, in the section Models and Predictions we conceptually model the relationship of these features to neurophysiological, social, and cultural processes, significantly expanding existing models of IME. We discuss influential existing models of IME, before setting out our own model, one that explicitly separates out synchronization and coordination, gives greater prominence and more detailed explanations of processes taking place over longer timescales than SMS, and considers which aspects of entrainment depend on culturally shared knowledge and how entrainment is socially significant. The paper thus contributes to the understanding of human coordination and cooperation, and to the study of cross-cultural variation in social behavior and artistic expression.
Since this work builds on past research across distinct disciplinary traditions, the first task of this paper is to set out this background through a critical review of the relevant literatures, which comprises approximately a third of the paper. Readers familiar with some or all of these areas may of course choose to navigate other routes through the material and refer back to the review section selectively. The third section of this paper includes a short overview of methods for studying IME before presenting comparative analyses of synchronization and coordination, before our model is laid out in the final section.
Interpersonal Entrainment
Studies of interpersonal entrainment were pioneered (albeit without using this term) by Condon in the 1960s, using manual annotation of films of individuals interacting socially. Condon claimed on this basis to have observed pervasive interpersonal synchrony between humans engaged in natural conversational interactions (Condon & Ogston, 1971), and also pointed to deficits in synchronization associated with certain pathologies such as autism (Condon, 1985). Advances in technology made less labor intensive methods viable, which have been exploited increasingly since the 1990s. For example, a number of studies by Schmidt, Richardson, and colleagues developed a set of ingenious methods to explore interpersonal synchrony in conversational interactions, such as asking participants to swing weighted pendulums or to sit in rocking chairs (e.g., Richardson, Marsh, Isenhower, Goodman, & Schmidt, 2008; Schmidt et al., 2007). These interventions allowed researchers to carry out experimental research by varying factors including the weight of the pendulums and the amount of visual information available to participants, an approach that has included study of impairments in social interaction (e.g., Fitzpatrick et al., 2016).
While research on the dynamics of interpersonal entrainment (how tightly and under what conditions people synchronize with each other) has expanded over recent years, others have focused more on the possible motivations and effects of interpersonal entrainment. The historian William McNeill (1995) published a seminal account of the role of coordinated movement—dance and drill—in human history. Evolutionary anthropologists have discussed the possible importance of synchronized action and chorusing in the emergence of music as well as its wider impact on human development (Merker, 2000; Mithen, 2005; Tomlinson, 2015). Dunbar and colleagues argue, for instance, that synchronous behaviors cause the release of neurohormones that influence social bonding—allowing humans to form affiliations more efficiently, and over larger social groups, than other primates (Launay et al., 2016).
The Durkheimian tradition in sociology and anthropology makes a parallel argument for the importance of ritualized behavior, including synchronized action, in the development of social bonds, institutions, belief systems, and moral codes (Collins, 2004; Durkheim, 1912/1995). Empirical work drawing on this tradition has explored the social efficacy of rituals with specific reference to the occurrence of interpersonal synchrony: Fischer, Callander, Reddish, and Bulbulia (2013) found that in a comparison between diverse activities, "rituals with synchronous body movements were more likely to enhance prosocial attitudes," with sacred values mediating the effect of synchronization (p. 115).
Interpersonal coordination has been investigated in the field of experimental psychology by researchers concerned with joint action; that is, human behavior that involves multiple individuals coordinating their thoughts and movements in space and time, with the goal to communicate (Clark, 1996) or to effect a change in the environment (Sebanz, Bekkering, & Knoblich, 2006). Pioneering laboratory studies of joint action examined how co-acting individuals mentally represent each other's role when sharing a task (Sebanz, Knoblich, & Prinz, 2005). Extensions of this work have focused on how using one's own sensorimotor system to simulate a co-actor's actions facilitates interpersonal coordination by allowing one individual to predict another's upcoming actions in real time (Sebanz & Knoblich, 2009). Related theoretical work has sought to understand the relationship between shared task representations, action simulation, and basic mechanisms of entrainment in order to account for a range of intentional and unintentional forms of interpersonal coordination (Knoblich & Sebanz, 2008; Knoblich, Butterfill, & Sebanz, 2011).
In summary, the related ideas that the widely distributed capacity of human beings to coordinate actions in time have played an important part in: 1) human evolution; 2) the development of social institutions and the formation of social groups; as well as 3) the shared emotional lives of human societies, have been aired in various forms and in various academic disciplines over many decades—even in the absence of sustained engagement between those disciplines. Relating empirical study of the dynamics of IME, such as it exists, to anthropological or sociological perspectives on interpersonal coordination and social bonding, remains a significant challenge, while virtually nothing is known about the cultural variability of IME. This paper aims to advance our theoretical models in these areas.
Interpersonal Entrainment in Music
Music is undoubtedly a fruitful area in which to investigate interpersonal entrainment. Music performance involves the temporal coordination of movements between individuals, in ways that are often more complex or more precise than interpersonal coordination in other social situations. The fact that different individuals can each produce different traces in sound and movement means that in many cases, IME can be studied on the basis of normal music-producing behavior without the need for experimental interventions (D'Ausilio, Novembre, Fadiga, & Keller, 2015). However, interest in this topic amongst musicologists has been slow to build. In ethnomusicology a number of seminal studies have pointed to the importance of the phenomenon, without making significant breakthroughs. Lomax's (1968) Cantometrics project, for instance, takes the "fusion" or "cohesiveness" between different parts in an ensemble as a key cross-cultural comparator: he wrote explicitly of Condon's approach and its potential applicability to song performance. Blacking (1977, 1981), building on the Durkheimian tradition and anticipating later work on embodiment, wrote of the importance of synchronized movement in musical performance in his work on the anthropology of the body, again without developing a methodology for its study.
Empirical studies of musical synchronization were pioneered by Rasch (1979, 1988), working from recordings of Western classical trios, who devised measures for the estimation of synchronization between players (see section Measuring Entrainment in Musical Ensembles). Friberg and Sundström (2002) used jazz recordings to analyze the relationship between soloist and ride cymbal, while Schögler's analysis (1999) of jazz duets explored the relationship between timing coordination and the overall flow of performances. Keil developed a theory of "participatory discrepancies." For Keil, the small differences in timing (asynchronies) between individuals were crucial in giving life to a performance (1987/1994, 1995; related empirical studies are Alén, 1995; Butterfield, 2010; Prögler, 1995). The relationship between asynchrony and aesthetic preference was explored by Senn et al. (2016), whose findings did not support Keil's theory, since in a set of rhythm section recordings, those using the original timings from professional performances and those with the asynchronies eliminated were rated equally highly for "groove." Clayton et al. (2005) integrated the ethnomusicological tradition of Blacking, Keil and others with application of empirical analysis informed by entrainment theory. Subsequent empirical studies of interpersonal entrainment in musical performance have explored the use of visual information to track coordination between musicians (Clayton, 2007b) and integrated the analysis of entrainment between musicians with ethnographic study of group dynamics in jazz ensembles (Doffman, 2013) and Cuban dance groups (Poole, 2012). Lucas, Clayton, and Leante (2011) explored the dynamics of entrainment between distinct musical groups in an Afro-Brazilian ritual tradition.
In parallel with this work, a large body of research has explored the process of sensorimotor synchronization using laboratory tasks that require individuals to move in synchrony with a perceived stimulus, such as tapping along to a periodic, auditory sequence or the beat of a piece of music (for an overview see Repp, 2005, and Repp & Su, 2013). Another common approach has been to explore coordination and joint action in musical ensembles within experimental paradigms (Glowinski et al., 2013; Keller, 2008, 2014; Varni, Volpe, & Camurri, 2010). Until now, however, we lack a broader overview and model of IME: what it is, the mechanisms and timescale involved, what differences exist between IME in different cultures and musical genres, and how they may be accounted for.
For the purposes of this paper, IME refers to the temporal coordination between co-performers (perceptual factors in non-performers are considered in this literature review but do not form part of our model at this stage; bodily movement of musicians is considered, although full consideration of dance is deferred). IME is manifested on a number of different levels, from the phenomenon of different individuals sounding instruments (or clapping along or shifting their weight in dance) at the same time, to the alignment of metrical and phrase structures, to coordinated transitions between pieces or sections. We propose in this paper a distinction between alignment at short timescales based on a process of sensorimotor synchronization, and coordination at larger timescales, which is more dependent on conscious decision-making and negotiation. For reference, in Table 1 we define some of the key terms in musical entrainment, as a key to the discussion that follows.
Operational Definitions of Relevant Terms in Discussing Interpersonal Musical Entrainment, as Employed in This Paper
Term .
Operational definition .
Interonset Interval (IOI) Duration between the attack points of two successive auditory events
Rhythm A sequence of auditory event durations or inter-onset intervals
Beat A regular/repeated pulse that is abstracted from (and not necessarily perceptually present in) the rhythmical surface. Multiple beat levels combine to form a meter. Typically in the IOI range 250-2000 ms.
Subdivision A fast regular/repeated pulse that is abstracted from the rhythmical surface, which subdivides the slower "beat." Typically in the IOI range 100-250 ms.
Meter A hierarchical structure, comprising two or more levels, into which beats and beat subdivisions are organized
(Metrical) cycle A periodically repeating pattern comprising a hierarchical arrangement of beats on more than one level. Actual musical events or rhythmic patterns do not need to repeat periodically for a periodic metrical cycle to be inferred, although they may do so.
Metrical position Location within the metrical hierarchy, i.e. beat or subdivision number.
Tactus The beat level which is most comfortable to tap along to. Typically in the IOI range 350-700 ms.
Tempo The perceived speed of the music, usually calculated as the frequency of the tactus (beats per minute).
Event density The number of musical events (e.g., note onsets) occurring per unit of time.
Entrainment The interaction of autonomous rhythmic (oscillatory) processes, often resulting in their synchronization.
Sensorimotor synchronization (SMS) "[T]he rhythmic coordination of perception and action" (Repp, 2005). In a musical context, the process by which musicians use sensory input in order to synchronize with co-performers.
Coordination Coordination can mean any process enabling medium and long-term musical processes (roughly > 2 s) to be or remain temporally aligned. This can include the cueing of transitions and the use of mutual attention and coordinated body movement to manage changes or reaffirm a shared understanding of the musical structure.
Non-isochrony A regular pattern of unequal time intervals (usually at beat or subdivision levels).
Foundations of Musical Entrainment
Although the cultural value placed on music making, and the variety of temporal patterns used in music may be uniquely human, examples of entrainment to rhythmic, periodic stimuli have been reported in several non-human species.2 Several of these studies have also demonstrated that data collected from animal subjects can be explained using mathematical models that have previously been applied in studies of human entrainment, including the generalized Weber's law and a coupled oscillator model (García-Garibay, Cadena-Valencia, Merchant, & de Lafuente, 2016; Rouse, Cook, Large, & Reichmuth, 2016; see the review section Models of Synchronization and Beat Perception for more on entrainment models). Initial findings in this research area, in particular on cockatoos and other parrots, led to the proposal that the ability to entrain to a beat is related to vocal mimicry capacity (Patel, 2006; Schachner, 2010), although the phylogenetic diversity of animals that have since shown evidence of entrained behavior may now suggest otherwise. A theoretical account that has more recently gained traction is that beat-matching and synchronization abilities share a common origin in general entrainment mechanisms and signaling behaviors that are widely distributed across the animal kingdom (Bispham, 2006; Merker, Madison, & Eckerdal, 2009; Phillips-Silver, Aktipis, & Bryant, 2010; Wilson & Cook, 2016), but vary in their accuracy and flexibility due to cross-species differences in motor control, perceptual abilities, cognitive and emotional factors such as attention, and the strength of coupling between the auditory and motor systems (Kotz, Ravignani, & Fitch, 2018; Merchant & Honing, 2014; Wilson & Cook, 2016).
In regard specifically to human musical entrainment, various prerequisite abilities are present from an early stage of development. Winkler, Háden, Ladinig, Sziller, and Honing (2009) found that newborn infants were sensitive to omissions of downbeats from isochronous rhythmic patterns and thus suggested that musical beat perception is innate. Phillips-Silver and Trainor (2005) found that bouncing 7-month-old infants to a binary or ternary beat when listening to an ambiguous auditory rhythm influences subsequent preferences towards a version of the rhythm containing accentuations that match the metrical interpretation to which the infant has been bounced. This suggests that the ability to retain metrical information and, specifically, to integrate motor and/or vestibular information with auditory rhythms is present from an early developmental stage. Zentner and Eerola (2010) found that 5- to 24-month-old infants demonstrated more spontaneous rhythmic movement to music and musical rhythms than speech, with evidence of tempo sensitivity (movements became faster with increasing tempo) although the absolute periods of the music and movements did not reliably match. It appears the ability to overtly synchronize motor responses to a musical beat requires a more refined degree of motor control that emerges around age 2 (Eerola, Luck, & Toiviainen, 2006, Kirschner & Tomasello 2009). In general, synchronization accuracy and the range of musical tempi to which one can accurately synchronize have both been shown to increase throughout childhood (Drake, Jones, & Baruch, 2000; McAuley, Jones, Holub, Johnston, & Miller, 2006).
Sensorimotor Synchronization (SMS)
Basic psychological processes that underpin musical entrainment have been interrogated in laboratory studies of SMS. The processes of interest allow an individual to perceive the rhythm of an external sequence of events, to anticipate the timing of upcoming events based on this rhythm, to produce rhythmic movement, and to align the timing of these produced movements with events in the external sequence. SMS studies have generally sought to understand how these processes combine to determine the accuracy and precision of SMS in tasks that require an individual to synchronize simple movements (finger taps, drum strikes, or limb oscillations) with repetitive events in auditory, visual, or multimodal (e.g., audio-visual) pacing sequences (Repp, 2005; Repp & Su, 2013). Performance on such tasks can be quantified by measuring the phase relationship (or temporal alignment) between each movement and its corresponding pacing event, as well as the degree to which the period (or interval) of time between successive movements matches the intervals demarcated by pacing events. SMS accuracy is high to the extent that errors in phase (asynchronies) and period (tempo) are low, while precision is high to the extent that asynchronies and tempo remain constant over time.
Laboratory studies have identified several factors that affect SMS performance, including the modality of the external pacing sequence, tempo (musical speed), and an individual's musical expertise. SMS is typically more accurate and precise with auditory than visual stimuli for sequences of discrete events, but this does not necessarily hold for continuous stimuli (Hove, Fairhurst, Kotz, & Keller, 2013; Repp, 2003). With regard to tempo, accurate and precise SMS with auditory pacing sequences is possible at IOIs in the 100–1800 ms range (600–33 BPM), with synchronization at fast extremes requiring biomechanical constraints on repetitive movement to be overcome by using alternating fingers, arms, or feet (Repp, 2006). Individual pacing events are difficult to distinguish at faster tempi and the timing of events is difficult to predict at slower tempi falling outside this range. Trained musicians may, however, benefit from relatively fine temporal acuity at the fast end and from compensatory task strategies such as mental subdivision at extremely slow tempi. Music training is generally associated with superior SMS performance. Highly trained musicians are able to limit the variability of asynchronies to about 2% of the pacing IOI, while variability in untrained individuals is typically at least twice as large as this (Repp, 2005).
The sources of individual differences in SMS performance have been investigated in studies exploring models that correct for phase and period errors, as well as in brain imaging studies examining the neural correlates of SMS and work on SMS in naturalistic musical contexts. Modeling studies have sought to determine how differences in estimates of parameters representing basic SMS mechanisms account for individuals' behavioral SMS performance (Mills et al., 2019; Palmer, Lidji, & Peretz, 2014; van der Steen, Jacoby, Fairhurst, & Keller, 2015). Results of this work suggest that variance in SMS skill is explained by combined independent contributions of reactive error correction and predictive tempo-change extrapolation processes. Brain imaging studies suggest that individual differences in SMS skill may reflect the efficiency of neural responses at early levels of auditory processing, such as brainstem responses (Tierney & Kraus, 2013), and the degree of connectivity between higher-level auditory and motor cortical regions (Chen, Penhune, & Zatorre, 2006; Halwani et al., 2011). Work on SMS in musical contexts has addressed individuals' abilities to keep in time with tempo changes in expressive musical performances or simple tone sequences containing gradual tempo changes resembling those found in such performances (Pecenka & Keller, 2009a, 2011; Rankin, Large, & Fink, 2009; Repp, 2002; Schulze, Cordes, & Vorberg, 2005). The ability to predict on-going tempo changes is reflected in the degree to which intertap intervals match or lag behind prior interonset intervals. These studies indicate that the tendency to predict tempo changes (reflected in matching more than lagging) is positively correlated with musical experience, and these individual differences are related to the accuracy and precision of synchronization with regular pacing sequences and sounds produced by another individual in tapping tasks (Pecenka & Keller, 2011). Temporal anticipation requires relatively high-level cognitive processes. Tempo change prediction is reduced with increased attention load (Pecenka, Engel, & Keller, 2013) and individual differences in prediction are positively correlated with working memory capacity (Colley, Keller, & Halpern, 2018) and auditory imagery ability (Pecenka & Keller, 2009a, 2009b). While most SMS research focuses on isochronous sequences, Repp, London, and Keller (2008) explored non-isochronous sequences, finding larger phase corrections following longer intervals (600 ms) than after shorter (400 ms).
Neuroscience and Physiology of Musical Entrainment
Research in this domain has explored the theory that a sense of pulse and meter arise as a result of neural oscillations resonating to the periodicities of a regular auditory stimulus. A range of methods has been employed, with differing strengths and limitations, to address entrainment-related phenomena at the level of the brain (Doelling, Assaneo, Bevilacqua, Pesaran, & Poeppel, 2019; Lenc, Keller, Varlet, Nozaradan, 2018a, 2018b, 2019; Novembre & Iannetti, 2018; Rajendran & Schnupp, 2019). Studies using electroencephalography (EEG) and magnetoencephalography (MEG) have shown that exposure to a periodic tone sequence or music with an isochronous beat can elicit neural activity consistent with entrainment at matching and harmonically related frequencies to the stimulus pulse (Fujioka, Trainor, Large, & Ross, 2009, 2012; Nozaradan, Peretz, Missal, & Mouraux, 2011; Snyder & Large, 2004, 2005; Tierney & Kraus, 2015). In addition, neural oscillations and modulations of power in specific frequency bands appear to play different roles in terms of entrainment to a musical stimulus; in particular, amplitude modulations in the power of beta oscillations (15–30 Hz) appear to be more exogenously driven by the perceived stimulus, while periodic gamma activity (> 30 Hz) persist even when a tone is omitted, suggesting a role in endogenous anticipatory processes (Fujioka et al., 2009; Large & Snyder, 2009; Zanto, Large, Fuch, & Kelso, 2005). Another common methodological approach, known as "frequency-tagging," measures the correspondence between the frequency of a periodic auditory stimulus and the frequency of neural oscillations by analyzing steady-state evoked potentials (SSEPs) from the neural signal (see Nozaradan, 2014, for an overview). The frequency tagging approach has been particularly effective for exploring the range of conditions under which neuronal activity suggestive of entrainment occurs, due in part to the high signal-to-noise ratio afforded by this method, and has also revealed insights on the neural dynamics of audiovisual (Nozaradan, Peretz, & Mouraux, 2012a) and sensorimotor (Nozaradan, Zerouali, Peretz, & Mouraux, 2015) integration. Approaches based on measuring transient event-related potentials (ERPs) from the neural signal have also been successfully employed in several studies, in particular providing insights on predictive processes and temporal expectancy (Stupacher, Witte, Hove, & Wood, 2016; Zanto, Snyder, & Large, 2006). The modulation of neural responses via a musical beat has been demonstrated not only at the level of cortical activity, but also at the subcortical level of the auditory brainstem (Nozaradan, Schönwiesner, Caron-Desrochers, & Lehmann, 2016; Tierney & Kraus, 2013, 2014).
In addition to the correspondence between the perceptual pulse rate and neural oscillation rate, it has been found that imagined metrical interpretations that are not physically present in the acoustic signal can elicit neuronal responses at the level of the imagined meter. This has been demonstrated by comparing EEG data from trials in which participants imagined binary vs. ternary metrical interpretations for the same auditory stimulus, as well as using paradigms in which different patterns of subjective accentuation were imagined using the same, metrically ambiguous rhythmic pattern (Brochard, Abecasis, Potter, Ragot, & Drake, 2003; Iversen, Repp, & Patel, 2009; Nozaradan et al., 2011). Beat-related neuronal responses also still occur when the acoustic energy of the signal is not predominant at beat onsets, as is the case for syncopated rhythms (Nozaradan, Peretz, & Mouraux, 2012b; Tal et al., 2017). Thus, neuronal entrainment to music appears to be influenced not only by bottom-up properties of the auditory stimulus, but also by top-down interpretations or abstractions of the beat that may provide additional or even conflicting information to the perceived stimulus.
In terms of interpersonal entrainment, research using dual-EEG recording has shown that increased coordination between pairs of participants, as measured using hand/finger movement tasks (including tapping) requiring varying levels of spontaneous and planned coordination, is associated with suppression of activity in the alpha frequency band (neural oscillations of approximately 7–13 Hz) (Dumas, Martinerie, Soussignan, & Nadel, 2012; Konvalinka et al., 2014; Naeem, Prasad, Watson, & Kelso, 2012; Tognoli, Lagarde, DeGuzman, & Kelso, 2007). The topography of patterns of activation observed in these studies is broadly consistent with the involvement of sources in the putative human mirror neuron system (see Rizzolatti & Sinigaglia, 2010). Novembre, Sammler, and Keller (2016) investigated the interaction between synchronization and higher-level knowledge structures (co-representation of actions and goals) in a musical joint action paradigm with piano duos by manipulating each of these two variables. In accordance with previous research, they found suppression of alpha-band activity over right centro-parietal regions in the more synchronous performance condition and alpha enhancement in the less synchronous condition, with this difference in alpha activation levels being amplified in the condition that favored co-representation (pianists were familiar with one another's parts) as compared to the condition that did not allow for co-representation (pianists were unfamiliar with one another's parts).
Some effects of expertise and individual differences between participants on neural entrainment have also been revealed. For instance, Doelling and Poeppel (2015) found that musicians displayed more precise neuronal entrainment to music, and entrainment over a wider frequency range than nonmusicians. Tierney and Kraus (2014) showed that participants who were less variable in tapping during a sensorimotor synchronization task also displayed decreased variability of the auditory brainstem response in terms of phase locking to a periodic auditory stimulus. Other work by Tierney and Kraus (2013) has revealed correlations between both SMS ability and years of music training with cortical sensitivity to a musical beat. Research using a frequency-tagging approach has shown that the amplitude of SSEPs was positively correlated with SMS ability, while the strength of endogenous neural activity related to a non-perceptually present beat was positively correlated with temporal prediction abilities (Nozaradan, Peretz, & Keller, 2016). Finally, evidence of neuronal entrainment has also been found in infants as young as 7 months of age, although such responses appear to be modulated by both the musical experience of the infant and its parents (Cirelli, Spinelli, Nozaradan, & Trainor, 2016).
Going beyond questions of entrainment at the level of populations of neurons, the relationship between other periodic, physiological signals (e.g., heart rate, respiration rate) and musical pulse rate has been a topic of empirical interest for decades (e.g., Diserens, 1926), although there are still many open questions in this area. Some studies have reported the spontaneous adaptation of blood pressure, heart rate, and respiration rate toward the tempo of musical stimuli (Bernardi et al., 2009; Etzel, Johnsen, Dickerson, Tranel, & Adolphs, 2006; Gomez & Danuser, 2007; Haas, Distenfeld, & Axen, 1986), although the exact mathematical relationship between physiological rhythm rates and musical tempo is not straightforward, most likely due to biological constraints on the possible range of periodicities in autonomic functions. Ongoing research in this area has key implications for understanding emotional responses to music (Juslin, 2013), the development of music therapeutic interventions that aim to regulate physiology (e.g., Ellis & Thayer, 2010; Thaut, McIntosh, & Hoemberg, 2015), and the investigation of the effects of music on exercise and sporting performance (Brooks & Brooks, 2010; Karageorghis & Terry, 2008).
Auditory Perceptual Factors in IME
Perceptual factors may influence IME in performance in a number of ways. First, the perceptual onset—or p-center—is the subjective moment of occurrence of an event, in the case of music, a percussive sound, pitched tone, or chord onset. P-centers of musical sounds are determined by acoustic rise time, duration, pitch, and timbral qualities (Danielsen et al., 2019; London et al., 2019; Rasch, 1979; Vos & Rasch, 1981). Instrumental sounds therefore have different p-centers to the extent that the method of sound production is associated with differences in these physical features. P-centers are closer to physical onsets in percussive sounds or plucked string tones with abrupt rise times than in bowed string or breathy wind tones with gradual rise times. The effects of differences in p-center on the dynamics of entrainment have been examined in SMS studies of paced finger tapping. For example, longer rise times of individual tones and the temporal displacement of multiple tone onsets in chords have been found to draw taps later in time relative to physical onset of the tone or chord (Hove, Keller, & Krumhansl, 2007; Vos, Mates, & van Kruysbergen, 1995). The task for ensemble musicians is to align sounds based on p-centers rather than physical onsets (Rasch, 1988).
Measurements in synchronization precision and accuracy may be considered in relation to thresholds<|fim_middle|>1: a ritual event requires a group of participants, distinguished from outsiders, who agree on a mutual focus of attention and come to share an emotional state. A positive feedback loop of attentional focus and emotional intensification is facilitated by rhythmic entrainment. The resulting "collective effervescence" leads to the kind of short and long-term (through repetition) outcomes of which Durkheim wrote: the development of group identification and solidarity, moral codes, and symbols of social relationship and affiliation. Collins' updated model has not been tested extensively on musical case studies (see Heider & Warner, 2010, for a case study on shape note singing). Importantly, however, it points to the significance of a longitudinal perspective, and the role of learning and transmission in enabling the repetition of specific patterns of IME which form an essential part of cultural expressions.
Randall Collins' Interaction Ritual Chains model. Figure republished with permission of Princeton University Press from Interaction Ritual Chains, Randall Collins, © 2004; permission conveyed through Copyright Clearance Center, Inc.
Social Differentiation: Role, Leadership, and Out-groups
The social significance of IME is not limited to its effectiveness in promoting social bonding. Apart from the short and long-term formation of social groups we should consider that groups tend to be defined in contrast to out-groups. The out-group is often not present at the time of musical and ritual performance, but Lucas, Clayton, and Leante (2011) illustrate the case of groups refusing to entrain with out-groups in a ritual context. Moreover, within the group there almost always exists some form of differentiation of role and/or status. Different instrument types or voice ranges may be conceived as complementary, but are often conceived as organized hierarchically, with one or more individuals assuming a leadership role: this is an important concept in the social aspects of IME.
The question of ensemble leadership has been empirically explored using various operationalizations of the concept, including by investigating the temporal relationship between sound or movement onsets from co-performers (e.g., the person who tends to move or produce their sounds first is assumed to be the leader), by contrasting roles that are assumed to naturally vary in terms of their leadership properties (e.g., first vs. second violinist of a string quartet), or by assigning leader/follower roles to performers within an experimental paradigm. In the auditory domain, several studies of Western classical music have reported the presence of "melody lead," i.e., the tendency for the melody line to be played slightly ahead of the accompaniment (Keller & Appel, 2010; Palmer, 1989; Rasch, 1988), although it remains to be investigated whether such a feature generalizes to other styles of music (see the section Measuring Entrainment in Musical Ensembles). In an experiment in which leadership roles were explicitly assigned within piano duos, Goebl and Palmer (2009) found that leaders played slightly ahead of followers on average, but also revealed that both performers tended to mutually adjust their timing to one another (despite the leader/follower designation). Wing, Endo, Bradbury, and Vorberg (2014) found that in addition to playing slightly ahead of her co-performers, the leader of a string quartet (first violinist) applied less temporal error correction in her playing than the other ensemble members, suggesting that the rest of the ensemble adjusted their timing to her part. However, this error correction result was not replicated in a second string quartet within the same study, in which all members of the quartet demonstrated more equal levels of error correction, indicating differences in terms of leadership styles between the two quartets. In terms of investigating such individual differences in musical leadership styles, one study by Fairhurst, Janata, and Keller (2014) investigated leadership tendencies by asking participants to tap in synchrony with an auditory stimulus that varied in the degree to which it temporally adapted to the participant. They found different behavioral patterns between subgroups of participants ("leaders" felt the task of synchronizing was easier when they felt more in control and vice versa for "followers"), which was reflected in differences in brain activity in areas involved in self-initiated action.
Another body of research has focused on the development of innovative methods for studying ensemble leadership using movement data from performers. For instance, Varni et al. (2010) developed a computational model to compute a leadership index in violin duos and string quartets in real-time, starting from cues in head movements. D'Ausilio et al. (2012) used kinematic data from violinists' bows and conductors' batons to investigate orchestral leadership patterns in terms of the influence of a conductor on the violinists and the violinists on each other (listener preferences were also investigated; see the section IME and Listener Preferences). Glowinski et al. (2012) used a similar method to investigate leadership in string quartets via head positional data, and found differences between the ensemble players (e.g., the first violinist led more frequently) and differences between sections of the musical piece (e.g., some sections comprised one clear leader whereas others had more distributed leadership, which roughly corresponded to the musical structure). One area that remains to be explored further is how the kinematic properties that are used to index leadership in these studies relate to note-to-note synchronization in the auditory domain. This question has been partially explored, for instance, by Bishop and Goebl (2017), who found that piano duos exhibited greater synchronization in terms of note onsets when the leader (as assigned by the experimenter) used head cue gestures that were smoother, greater in magnitude, and less prototypical.
Finally, music listening experiments have revealed certain perceptual biases in the assessment of ensemble leadership. Uhlig, Fairhurst, and Keller (2013) asked pianists to judge leader-follower relations in different versions of a piano duet consisting of a melody and accompaniment part. The original performance contained natural, local variations in leader-follower phase relations, but no systematic phase difference at the global level (i.e., the median asynchrony was 0 ms). In addition to this natural version, synthesized versions of the performance were created, which introduced a global melody or accompaniment lead (28 ms on average). As expected, the natural version without global leader-follower relations attracted intermediate ratings. However, for the synthetic versions, listeners were able to detect when the melody led the accompaniment but not when the accompaniment led, suggesting a perceptual asymmetry whereby listeners are especially sensitive to melody lead. Ragert, Fairhurst, and Keller (2014) extended this work by comparing leader-follower judgements in the context of the natural performance (containing local but not global leader-follower relations) and a synthetic rendition of the duet without asynchronies (i.e., no leader-follower relations even at the local level). Results indicated that listeners were biased towards hearing the melody as leading in the synthetic performance (without asynchronies) when attention was focused on the melody. This bias did not occur when natural fluctuations in asynchrony were present (consistent with Uhlig et al., 2013) and no bias towards hearing the accompaniment as leading was found when attention was focused on the accompaniment. Taken together, the results of these studies suggest that listeners are not only sensitive to melody lead, but they may be biased towards perceiving it when it is in fact absent under certain circumstances.
The Role of Social and Cultural Factors in a Model of IME
A comprehensive model of IME needs to take account of the great diversity of performance configurations that may be observed in musical performances across the world. In order to consider either the social efficacy or the cultural variability of IME, we need to consider different aspects of the performance situation. In practical terms, when characterizing the performance space of music ensembles as sites for interpersonal entrainment, we may take into account the following factors:
Group size: The number of participants in an event could range from two to thousands. The definition of "participant" is broader than that of "musician," including anyone whose actions in the performance space can influence others. Increasing group size brings new possibilities and challenges in interaction, potentially changing group dynamics and the generation of positive affect (Mogan et al., 2017; Moreland, Levine, & Wingert, 1996).
Spatial organization: How is the group distributed in space? Is it set apart from, or higher than, other co-present individuals (such as an audience)? Who faces who, and who can communicate with whom? The orientation and attention of members towards each other, distances between people and lines of sight, hearing, and touch through which information may be exchanged can affect group dynamics; there may also be effects of acoustic delays due to distances between performers.
Subgroups: Participants may be organized into subgroups (in large gatherings, groups may be identified as "the choir," "the audience"; a choir may be divided into vocal ranges, orchestras into sections, etc.). Ways of differentiating participants into groups are diverse (e.g., in some cases rather than "musicians"/"dancers," a more pertinent distinction to participants might be "ritualists"/ "lay persons").
Role: Participants may be differentiated by role (conductor and musicians, soloist and accompanist, etc.). This varies cross-culturally and by genre: "leader" may not be recognized in a highly egalitarian society, for example; the extent to which "listeners" are considered to be active participants in the performance may also vary.
Leadership structure: Does a single individual have overall responsibility for the performance, is the leadership distributed, or can it be contested or change over time? Is there a distinction between musical and social "leadership"? What is at stake socially in the leading of the ensemble?
Participation: This factor includes the relative closed-ness of the group (how easily can individuals enter or leave, or switch roles within the group). Who is "part of" the event, and who is a non-participant who happens to share the physical space (e.g., to be within sight and hearing of it)? Are members selected by skill, social class, or gender?
Technology: The types of sound-producing instruments available and the role of technological mediation (e.g., amplification and sound monitoring) may also impact on IME.
Knowledge: The organization of activities in terms of shared representations, structures, processes, and goals.
Some of these factors have a clear impact on the kind of interpersonal entrainment that can be manifested. For instance, more complex patterns of entrainment are possible with 50 musicians than with 2, and the style of interaction exhibited by a quartet of musicians each with independent parts will be different than that exhibited by a choir singing in unison and guided by a conductor. There are also more subtle distinctions that may nonetheless have a significant effect on ensemble coordination. Does a quartet of nominally equal musicians entrain differently from a quartet with a clearly denoted leader, for example? These questions are impossible to answer without further empirical study.
Rather than attempt to identify archetypal performance situations, we propose rather to regard the performance "space" as flexible and reconfigurable (and its boundaries in many cases permeable); and to consider any of the factors above as potentially significant for IME in any given event. Taking all of this into account, we focus analytically in the section Measuring Entrainment in Musical Ensembles on the individuals who can be observed to be interacting in its musical aspects: those singing or playing instruments, whose movements may be coordinated with the music and each other. We aim to model the observable interactions between individuals in different modalities, particularly sound and vision. Understanding of the specific cultural frameworks within which a performance takes place is important, even indispensable, in interpreting these interactions, but this should not constrain the investigation unduly (e.g., in Western concert music, consideration of audience members as participants is not discounted a priori simply because they are not considered to be part of the performing group). Understanding IME involves not only quantitative analysis of observable aspects of entrainment, but a qualitative understanding of as many of these factors as possible, which in many cases is accessible through ethnographic enquiry.
All of the factors above can be regarded as social in the sense that they define who interacts with who, and how. Particular social groups decide who should gather, in what numbers and locations, and how their music-making should be organized. Instruments may be dictated by either the material available locally, or the resources to purchase items manufactured elsewhere. The resources available to the group, and their distribution, influence the likelihood that the group is organized hierarchically and of the performers being specialized (since this requires their having the resources and time required to develop musical expertise above the level possible for someone occupied full-time in employment or subsistence activities). In the broadest sense, IME is also cultural to the extent that interactions between participants are observably different in different situations, whether that is due to instrument choices, gender roles, or the organization of the means of economic production.
It is nonetheless important to flag up the last, but not the least important, item on the list of factors affecting entrainment above: Knowledge. For example, anticipatory processes in the ADAM model are built on the idea of action simulation, implicating internal models of the relationship between motor commands and their effects (van der Steen & Keller, 2013). This alone does not strongly imply a cultural dimension, even if the specific kinds of internal models people develop are no doubt related to the kinds of objects with which they interact in their environments. "Rich BPS" incorporates internal representations of complex hierarchical timing patterns and their influence on perception, while Rimmele et al.'s (2018) approach suggests that symbolic factors encoded in memory can influence entrainment, referring to phase resetting in particular. Consideration of how such representations are shaped by broader cultural aspects, such as those enumerated above, would link the neural level of IME to the sociocultural. Understanding what specific representations may be pertinent in the context of IME requires not only bottom-up inference from timing patterns, but also musicological and ethnographic knowledge that can illuminate the ways in which they are represented and learned. Such shared representations are likely to include short-term patterns such as typical meters and how they can be inferred from acoustic signals, but also longer term processes: it is necessary to think from a musicological perspective about the complex plans groups of people develop regarding their musical performances, and the ways in which different parts need to coordinate in order to achieve an appropriate result. This is linked to longer-term expectations that can be deliberately planned for and managed, and these plans are very much specific to the cultural environment, indeed often to a particular item of repertory recognized by the culture. IME thus involves participants being able to plan and anticipate, and this involves the modeling or representation of musical performance: not only what has been played and shapes expectations through internal representation of temporal structure, but what might be or what ought to be produced in the foreseeable future. This involves representations of knowledge, which may be externalized and given physical form (such as scores), may be explicitly known and represented by oral notations, or may be elements of practice so well-drilled that they do not need to be written down or explicitly taught. Such patterns can be described as culturally shared and acquired knowledge, and where we find cultural difference in music we are likely to find such representations. What is not clear at this stage is how, and to what extent, these representations shape IME in practice.
Another possible area of cultural variability is: to what extent do groups consciously manipulate the tightness of their mutual entrainment? How precisely synchronized is good enough in a given context, and how much is optimal? This is likely to be benchmarked according to a number of factors, including what is considered achievable—we don't expect a primary school band to be as tightly entrained as a professional orchestra because we know it is not possible to achieve this, and similarly many participatory genres may accept variability in synchrony because the only alternative would be to be more selective about who can take part. In such situations there will also be a trade-off with the level of complexity of the musical material, however: is a higher level of synchrony with a simpler musical texture preferred to a lower level of synchrony playing more challenging music? This is another way in which a society's values may impinge on musical entrainment.
In summary, existing models of SMS provide clues as to how IME is on the one hand a shared human capacity, while on the other accessible to manipulation and perhaps cultural variability (via conscious period correction, phase resetting, and complex internal representation of temporal hierarchies). However, in order to robustly connect neurophysiological models to an understanding of sociocultural factors, new research is required. This should involve both empirical exploration of cultural variability in IME (exemplified in the section Measuring Entrainment in Musical Ensembles), and conceptual modeling of the interactions between these levels (see section Models and Predictions). This endeavor requires both theoretical models drawing on sociological theory, and ethnomusicological research that can both interpret diverse musical structures and contextualize these structures in social and ritual practice.
Not only is entrainment a fundamental part of music making, but the ability to entrain to music is a fundamental part of the human experience. Mechanisms that underlie musical entrainment ability are present from an early stage in the human lifespan, and the unique combination of human perceptual skills, cognitive abilities, and refined audiomotor integration capacity have allowed for the development of a sophisticated system for the coordination and exchange of auditory and related (visual, haptic, etc.) information between performers that we know as music.
Music elicits spontaneous motor and physiological responses in its performers and listeners, including entrainment of neural populations and changes in heart and respiration rates, which can influence cognitive evaluations of the experience that manifest as emotional responses or social affiliation between co-performers. The expression of our capacity for entrainment through music is likely to have played a significant role in the development of our species, particularly in facilitating more complex forms of social organization and collective identities. The ways in which this process motivates musical behavior and underlies processes of social affiliation and cultural expression in the present is of profound interest to anthropology and sociology.
The discussion in the section Foundations of Musical Entrainment moved from a survey of the evolutionary, developmental, and neurological underpinnings of IME to consider the state of the art in terms of models, both linear and nonlinear. We emphasized in particular models that include top-down processing: either an element of anticipation and planning (ADAM) or internal representation of complex patterns contributing to top-down perception ("active sensing"). Building on these models, more needs to be done to integrate both longer-term processes and the role of culturally specific knowledge representations. The most promising biological explanations for social effects such as group bonding refer to the role of neurotransmitters such as oxytocin and endorphins, which are linked to both physical movement and the detection of human agency (Launay et al., 2016). Although much remains to be explained, the connection between entrainment, affect, and social bonding appears be consistent with long-standing sociological speculation (Collins, 2004).
The section Social and Cultural Dimensions of Musical Entrainment explored issues concerning the social and the cultural aspects of IME, with a view to developing a model of IME in these respects. We briefly surveyed findings in psychology regarding the effects of IME on prosocial behavior and groupiness, and sociological and anthropological theories linking IME to the social functions of ritual. Studies of ensemble leadership, being a key way in which members are differentiated and hierarchies expressed, highlight a major factor in social differentiation. In the absence of significant literature linking complex social and cultural factors to IME, we concluded this section by discussing a few factors that may be taken into account in future models. We flagged up in particular, the importance of culturally shared knowledge representations that allow participants to plan and anticipate.
In the next section we present analyses of the two components of IME distinguished in Section 1: synchronization (at relatively short timescales), and coordination (at longer timescales, based on shared understanding of metrical and formal structures and processes). Ragert et al. (2013) suggested in a study of piano duos that these two ways of coordinating ensembles may be dissociated, in the sense that at short timescales synchronization accuracy is dependent on a musician's ability to make predictions based on a co-performer's playing style, while for longer-scale coordination, familiarity with the structure of the piece alone aids accuracy. As argued in the Introduction of this paper, since they operate at different timescales and favor different sensory modalities, it is logical to consider them as distinct components of IME (although we can also explore ways in which they may overlap or influence each other; for example, as noted in the section Models of Synchronization and Beat Perception, the period correction aspect of synchronization incorporates conscious control). These two processes may be present to different degrees in different situations. In music that can be characterized to a large degree in terms of the relationship between percussive event onsets of different timbral qualities, as in many drum ensembles, the coordination element includes the necessity of aligning metrical structures (so that ostinato patterns interlock correctly, for example), and a mechanism for ensuring any section transitions and tempo changes are coordinated. At the other extreme, music comprising only sounds with slow attacks in which clear onset times cannot be determined, such as some bowed string sounds, can hardly be said to use a synchronization mechanism based on onset identification: and yet such ensembles are generally coordinated in relation to agreed procedures or formal principles governing the ways in which parts relate to each other temporally. In many cases different instrument types combine, so for example a legato vocal or string part is coordinated with a percussive drum pattern: the former may align with the latter taking into account the synchronization of endogenous neural oscillations to the drum part, but this synchronization will not be unambiguously evidenced in their own part if event onsets are not clearly defined.
The analyses in the following section draw on diverse corpora, including North Indian raga, Malian jembe and Uruguayan candombe (both Afrogenic drum ensemble traditions), Cuban son and salsa, stambeli ritual music from Tunisia, European string quartets and "Improvising duos" (standard jazz and free improvisation).3 All are small group traditions (ensemble size 2–7). We concentrate on interactions between musicians, rather than taking into account audiences or dancers, and focus our comparative analysis on aspects that are readily quantifiable from recordings of natural performances, such as onset times and gross body movements.
As noted above, although a significant amount of empirical research has been carried out on synchronization, relatively little has been done on longer-term coordination, and in either case almost none comparing different musical genres cross-culturally. In order to further develop models of IME that take account of cultural variability as well as including different timescales and processes of temporal alignment, in this section we present sample cross-cultural analyses. We begin with an overview of methods for measuring entrainment in musical ensembles before presenting two different approaches to analysis. In the first we discuss the differences in synchronization parameters between genres and their possible causes; in the second, we present a comparative analysis of the coordination of ancillary body movement between performers and its relationship to musical structure. These approaches do not, of course, exhaust all possible ways of analyzing IME cross-culturally, but are used as exemplars of a comparative approach based on empirical analysis of performance data, and offer an indication of ways in which such comparison may prove fruitful.
Measuring IME
Many approaches are possible for analyzing IME, depending on the types of data that are available and the timescales on which one focuses. In this section we give a brief overview of common approaches, before implementing a subset of these methods in subsequent sections using a collection of audiovisual data from a diverse range of musical cultures.
Studies of IME make use of various sources of data in order to examine temporal relationships between two or more co-performers in terms of the sounds they produce, movements they make (either to produce these sounds or to communicate with one another), or biological signals. Several key examples of such data are shown in Table 2. The analysis method that is subsequently applied to these data is dependent on the data type (e.g., whether the data represent discrete events/time points or continuous trajectories over time)4 and research question (e.g., whether one intends to examine entrainment over long or short timescales, address leader/follower relations, etc.).
Examples of Data Commonly Collected in Studies of Interpersonal Musical Entrainment
Data .
Example data recording method(s) .
Typical modality .
Data type .
Instrumental/vocal note/event onsets Audio recordings, MIDI recordings Auditory Discrete
Instrumental/vocal envelopes Audio recordings Auditory Continuous
Movement trajectories Motion capture, accelerometers, video recordings, force-plate data Spatial Continuous
Movement classes (e.g. head nod, specific hand gesture or signal) Motion capture, accelerometers, video recordings Spatial Discrete
Brain activity Electroencephalography, magnetoencephalography Physiological Continuous
Autonomic nervous system activity Heart rate monitor, electrocardiography (ECG), respiration monitor Physiological Continuous
In this section we briefly describe several key analysis methods that are commonly applied in research on IME and related work in which the aim is to examine contingencies between multiple time-dependent events or time series.
Discrete Data Analysis
Multiple series of discrete events such as instrumental onsets or tapping data are typically analyzed in terms of the temporal asynchronies between event timings (often given in milliseconds, e.g., 0 ms asynchrony = perfect alignment). Asynchronies between events can be analyzed to give a measure of the precision of synchronization (the SD of the asynchronies, termed "Asynchronization" by Rasch, 1988; multiple Asynchronization measures can be combined as a Group asynchronization measure). Asynchrony data can also give a measure of two instruments' relative position (sometimes described as "accuracy," see the section Sensorimotor Synchronization), i.e., whether one part tends to play ahead or behind another (cf. "melody lead"). This approach is outlined in more detail in the section Interpersonal Synchronization in Music Ensembles: Onset-based Comparative Analysis.
Alternatively, circular statistics are a common, nonlinear method for dealing with periodic series of discrete events (Fisher, 1993; Mardia & Jupp, 2009). The main measures of pairwise relationships are analogous to those of asynchrony analysis: the precision of synchronization (given by the mean vector length) and the accuracy or mean relative position (given by the vector angle). Phase analysis has been recommended as a primary method for entrainment analysis (e.g., Clayton et al., 2005), partly because exploring the stabilization of phase is more consistent with a dynamical systems model of entrainment than calculating the variability of asynchronies. However, using relative phase data for comparison between multiple genres is problematic: the phase calculations depend on the specification of a reference period, and different kinds of music have different types of metrical structure that make it impossible to establish a single objective definition of this period. Different reference periods produce significantly different mean phase angles and vector lengths, and therefore it is very difficult to be sure one is comparing like with like. The section Interpersonal Synchronization in Music Ensembles: Onset-based Comparative Analysis, therefore, employs asynchrony analysis. In other circumstances, particularly where comparison between genres is not necessary or where patterns interlock and there are therefore few "asynchronies" to calculate, this method may be preferred.
Another method that can be applied to event-based data is event synchronization (ES; Quiroga, Kreuz, & Grassberger, 2002), in which the degree of synchronization is calculated based on the number of quasi-simultaneous appearances of events (within a specified time window) and the delay between the two event series is calculated based on the number of events in one signal that precede the other. Although the ES method does not provide the same precise phase information as circular statistical analysis, the ease with which this method can be applied makes it particularly suitable for online implementations.
Continuous Data Analysis
The similarity between two time series can be examined via cross-correlation, which allows one to determine the time lag at which the two series are optimally similar. Cross-correlation assumes stationarity of the data (i.e., the mean and variance are constant over time) and may not be optimal for analysis in which the individual time series are autocorrelated (i.e., do not comprise independent values; Dean & Dunsmuir, 2016). As music often affords a periodic temporal structure, another relevant technique is cross-wavelet transform (CWT) analysis,5 which examines co-occurrences of periodic behaviors within two time series across multiple frequency bands. CWT is calculated as the pointwise multiplication of the wavelet transform (WT) of two individual time series (Grinsted, Moore, & Jevrejeva, 2004; Torrence & Compo, 1998; see also Issartel, Bardainne, Gaillot, & Marin, 2015, for an application within psychological research). In our case, CWT analysis enables the detection of shared periodic movements of pairs of performers across different frequencies and time, which allows us to examine movement coordination across multiple timescales, from fast head nods to slow body rotations. This technique has been previously applied in Eerola et al. (2018) to the "Improvising Duos" corpus that we also make use of in this paper; that work demonstrated that a measure of CWT Energy of performers' ancillary movements across a broad frequency range (0.3 to 2.0 Hz) served as a significant predictor of "bouts of interaction" (i.e., periods of visually apparent communication between co-performers), as labeled by expert musicians. CWT analysis has also been applied to describe different patterns of limb and head coordination within piano duos (Walton, Richardson, Langland-Hassan, & Chemero, 2015). This approach is explained in more detail, with examples, in the summary at the end of this section.
Another analysis method that has often been applied in research on interpersonal coordination in conversation and everyday behavior (e.g., Shockley, 2005; Shockley, Richardson, & Dale, 2009) is cross-recurrence quantification analysis (CRQA). CRQA is a nonlinear method that does not assume data stationarity or periodic behavior, can deal with pairs of time series of different lengths, and can also be applied to categorical/discrete data. This method can be used to determine the presence and duration of overlap between the dynamics of two different time series by quantifying the regularity, predictability, and stability of two concurrent behavioral performances in reconstructed state space. In addition, CRQA can be used to quantify the lag at which one individual's behavior maximally matches another's, in order to identify whether there is a leader–follower type of relationship. CRQA can, for example, be applied to measure if two players exhibit similar patterns of behavior during a music performance. One example of an application of CRQA in music research (although not specifically focused on interpersonal entrainment) has been to use this method for automatic identification of cover songs (Serrà, Serra, & Andrzejak, 2009); a similar technique has been used to compute phase synchronization in a violin duo (Varni et al., 2010).
Finally, Granger causality is a method that uses past values of one time series to predict future values of another time series. Granger causality has been used, for instance, to investigate leadership in both string quartets (Chang, Livingstone, Bosnyak, & Trainor, 2017; Glowinski et al., 2012) and orchestras (D'Ausilio et al., 2012) using movement data from the musicians and conductors.
One caveat that should be mentioned here is that all of the aforementioned methods rely on pairwise comparisons of time series, whereas entrainment in music performance often takes place at the level of larger groups than duos (Rasch's Group asynchronization is unusual in this regard, although it too is based on pairwise calculations). Thus, appropriate corrections for multiple comparisons may need to be applied when performing analysis on larger groups. Some research on interpersonal coordination more generally has also explored the use of cluster phase analysis, a method based on the Kuramoto order parameter (Kuramoto, 1989), for quantifying synchronization of larger groups of participants (e.g., six participants; Richardson, Garcia, Frank, Gergor, & Marsh, 2012).
Application of Data Analysis Techniques
As noted above, of the various options available for analyzing IME in performance, this paper focuses on just two: (a) the exploration of synchronization using asynchronies between discrete auditory event onsets, and (b) the analysis of coordination between continuous body movement using CWT analysis. The main priorities are to demonstrate analysis of the different components of IME and to present cross-cultural analyses, in order that these comparisons may help to shape the development of a model of IME in the forthcoming Models and Predictions section. In order to cover the full spectrum of IME in practice, other methods will need to be deployed, either in order to address different data sources such as EEG, other physiological measures or other aspects of motion, or because the approach taken in the next section—where onset timing differences are analysed in relation to a known metrical structure—is not appropriate. This would be the case where acoustic envelopes do not lend themselves to the measurement of onset times, for example (many vocal sounds or those of bowed instruments emerge gradually without any percussive "onset"), or where the temporal structure is unpredictable, for instance because there is no regular meter.
In this section, we explore synchronization in different genres by calculating time differences between the onsets of nominally simultaneous auditory events. In the simplest model of SMS between two individuals, they are understood to both perform the same simple sequence of actions, as illustrated by sequences A and B in Figure 2. In this case, events in the two sequences occur at approximately the same point in time: each individual adjusts to the other in order that they stay in time. Thus, B3 falls early with respect to A3; both correct this difference, as a result of which B4 falls a little later than A4.
Events produced by two individuals have onset times represented by the arrows in rows A and B. The blue and brown brackets indicate the interonset intervals between the first pair in each sequence; the red bracket indicates the asynchrony between onsets A2 and B2.
This case of two musicians performing periodic patterns in phase with each other is a particularly simple one, of course. Almost any real-life musical example will be more complex than this. As illustrated in Figure 3: (a) the rhythms (patterns of time intervals) may be varied, and (b) in many cases the sequences will be heard in relation to the meter (indicated by beat numbers and a hierarchical grid of pulses in green). Metrical positions are not necessarily marked by events (e.g., A5/B5), while points in between the beats may be articulated (e.g., extra event onsets are interpolated between A1 and A2, A2 and A3). In this hypothetical example, B articulates the "off-beat" in between A7 and A8, and A8 and A9. In this case, if we wish to explore SMS we cannot assume that the sets of onsets A and B mark nominally equidistant pulses; instead, we must first establish which onsets should be compared with which. Establishing the metrical structure allows us to do so, and also means that we can assess synchronization in relation to the meter (e.g., ask whether synchronization is more precise, on average, on beat 1 than on beat 2, etc.).
Events produced by two individuals have onset times represented by the arrows in rows A and B. They are interpreted with respect to a four-beat metrical pattern (green dots).
By meter we refer to a temporal hierarchy of cycles, beats, and subdivisions that can be inferred from the sound and act as a reference for listeners (see Table 1 above). The analyses that follow assume that in this respect meter is a general phenomenon—culture-specific in its detail but sharing some features across many cultures—and therefore that the temporal organization of North Indian raga, Malian jembe, European string quartet music, and other groups we discuss below is to this extent comparable. It is worth pointing out that metrical systems vary between the different traditions; for example in the usage of non-isochronous time intervals (see below). These traditions also vary in the ways in which these metrical structures are explicitly theorized, named, and represented—for example, North Indian musicians explicitly number the beats in their meters, while Malian jembe musicians do not—although in each case it is clear that rhythmic and metrical patterns are recognized. It is not the case that every musical performance must manifest such a structure—very many do not (Clayton, 1996). Nonetheless, in each of these six genres it is possible to identify metrical hierarchies by observing periodicities in the acoustic signal, observing behavior related to the performance, and exploring theoretical concepts expressed within the different music cultures.
Figure 4 illustrates a specific musical example, based on one of the corpora analyzed below, in a similar graphical form to the hypothetical example in Figure 3. This figure illustrates some of the possible points at which onset times can be compared (and asynchronies calculated): green boxes highlight all the points at which the instrument parts Jembe 2 and Dundun 2 coincide (there are two instruments of each type in the ensemble). In the next section we present some analyses of asynchrony data for this and other musical repertories, investigated by corpus, meter, instrument pair, beat position, subdivision position, and other factors.
The basic structure of the Malian jembe piece Manjanin. Top layer: instrument onset points (after Polak et al., 2016). D = dundun, J - jembe (types of drum). Different sounds (timbres) are not represented. Uneven horizontal spacing represents non-isochronous timing profile. Middle layer: metrical structure (B = beat, SubD = subdivision). Bottom layer: Numbering of metrical positions in the cycle by subdivision (SubD). Green boxes: points of coincidence between J2 and D2.
An interesting feature of this piece is the use of a consistent non-isochronous subdivision pattern, indicated in the diagram by close spacing between the SubD 1 & 2, and larger spacing between 3 & 4. Although not all musical examples show such clear patterning, the synchronization process cannot be assumed to depend on an isochronous pulse. In these cases, we cannot model synchronization simply in terms of two isochronous pulse streams, but recognize and account for the fact that each musician must internalize the non-isochronous pattern. Nonetheless, we can still calculate asynchronies at each position and test whether the synchronization is affected in any way by the non-isochronous subdivision.
Using event onset timing information, then, we can investigate synchronization between different instruments in a musical ensemble, and this method is robust enough to cope with variability in rhythmic patterns, metrical structures and non-isochronous timing patterns. Although in cases with roughly simultaneous onsets such as these, asynchrony analysis provides a robust method affording comparison between examples, in cases where onset timings in different instrumental parts predominantly interlock rather than align, relative phase analysis is the only practical approach. The approach taken in this paper, then, is to focus first on event onset-based methods (particularly asynchrony calculations).
Corpora Analyzed
Abbr. .
Origin .
N .
Instrumentation .
Size of corpus .
Dur. (min) .
Researcher .
North Indian Raga NIR North India 2 Sitar, sarod or guitar + tabla (tanpura drone not analyzed) 3 pairs playing 8 pieces, Mean duration = 683s (SD = 339) 91 M. Clayton, L. Leante
Uruguayan Candombe UC Uruguay 3-4 Chico, piano and repique drums 12 takes, M = 175.5 s (SD = 30.9) 35 L. Jure, M. Rocamora
Malian Jembe MJ Mali 2-4 Jembe and dundun drums 15 takes of 3 pieces, M = 202 s (SD = 69.1) 51 R. Polak
Cuban Son and Salsa CSS Cuba 7 Bass, Spanish guitar, tres, clave, bongos and other percussion, trumpet, vocals 5 songs, M = 398 s (SD = 45.5) 33 A. Poole
Tunisian Stambeli TS Tunisia ≥4, 2 parts analyzed Gumbri (lute) + shqashiq (cymbals), vocals 4 tracks comprising 8 pieces, M = 259.8 s (SD = 105.2) 35 R. Jankowsky
European String Quartet ESQ Europe 4 Violin x 2, viola, cello 2 takes each of 2 movements, extracts 6 M. Clayton, T. Eerola, K. Jakubowski
Note: Abbr. = corpus abbreviation; N = number of performers; Dur. = total duration.
The analysis in this section employs a set of six audiovisual collections published on Open Science Framework and described in Clayton et al. (in press). The first corpus of audio recordings and derived onset timing data comprises three recordings of North Indian Raga (abbreviated NIR) performances on plucked string instruments with tabla drum accompaniment.6 This is divided into eight distinct sections of duo performance (string instrument plus tabla). This set of recordings forms a subset of the IEMP "North Indian Raga" corpus (Clayton, Leante, & Tarsitani, 2018).
The second corpus comprises recordings of Uruguayan Candombe (UC) drum ensemble music (Jure, Rocamora, Tarsitani & Clayton, 2019). The corpus comprises 12 takes recorded by nine trios and three quartets. Three drums are used, named chico, piano, and repique (quartets include two repiques).
The next corpus comprises recordings of Malian Jembe (MJ) drum ensemble music (Polak, Tarsitani, & Clayton, 2018). The corpus comprises 15 takes: three duos, eight trios, and four quartets. Two different kinds of drum are used, named jembe and dundun (up to two of each).
The fourth corpus comprises Cuban Son and Salsa (CSS) music performed by the group Asere (Poole, Tarsitani, & Clayton, 2019). The seven-piece group plays five songs on a variety of instruments: we extracted onsets for the bass guitar, Spanish guitar, tres, clave, bongo, cowbell, cajon, conga, and trumpet (but not for a few other instruments such as shakers, scraper, and crash cymbal, or the vocal parts).
The next corpus comprises recordings of Tunisan Stambeli (TSS) ritual music (Jankowsky, Tarsitani, & Clayton, 2019). The instruments are the gumbri (plucked lute), and three sets of shqashiq cymbals played in unison; vocal and drum parts (used in some but not all tracks) are not studied here. Four recordings are divided into eight sections.
The final corpus comprises recordings of parts of two takes each of two European String Quartet (ESQ) movements (Haydn Op. 76, No. 5, First Movement and Beethoven Op. 59, No. 2, Third Movement; Clayton & Tarsitani, 2019). In this case onset data were collected only from sections with predominantly staccato articulation; remaining sections require different onset detection techniques (e.g., identifying new events when the pitch changes), which makes it difficult to compare the statistics with other corpora, and for this reason are not included here.
Our intention in this section is to present summary data on the diversity of synchronization in IME, based on the measurement of asynchronies between event onset times across these varied genres. By doing so we will highlight some of the factors that appear to influence the entrainment process across multiple genres.
Event onset data were prepared by the following steps:
Automated extraction of event onsets for each individual part (in most cases 'parts' are played by a single player on a single instrument; the exception is the shqashiq part in TS which is played by three players in unison, whose onsets cannot be distinguished).7
Manual annotation of metrical downbeats (i.e., the strongest beat of the musical meter, usually counted as "1").
Alignment of selected event onsets with metrical (beat and subdivision) positions calculated from manual annotations. This was done by dividing the duration of the cycle into the relevant number of beats or subdivisions, either equally or—in cases with a consistent non-isochronous subdivision—based on average relative timings across each piece. (This process is described in more detail in Clayton et al., in press.)
Output of selected onset times labeled by metrical position, with additional information including local event density (number of onsets for each instrument per second, calculated over 2-s windows). Labeled onset times were then manually checked, with problematic onsets either removed or relabeled.
For the corpora in which only one pair of onsets was available, namely NIR and TS, performances were cut into Segments averaging 120s and 50s respectively; boundaries were set at the nearest metrical downbeat to the desired average duration, which was calculated in order to generate a similar number of data points for the analysis of these corpora as was available for the other corpora with a higher number of instrument pairs.
Across the collection approximately 155,000 annotated event onsets were available for analysis (selected from a significantly larger number of raw extracted onset times, since only those unambiguously falling on defined metrical positions were employed in the analysis).
Asynchrony Analyses
This section summarizes a set of asynchrony analyses of the data described above. The aim is to give an overview of the patterns found in asynchrony data from groups of musicians in diverse musical genres, and to explore some ways in which these data vary. This summary is not intended to give a definitive account of SMS in any one genre, but rather to point to trends and preliminary findings for further analysis.
Our starting point for synchronization analysis is provided by the measures defined by Rasch (1988). The primary measure of the precision or tightness of synchronization in any example is termed Asynchronization (low asynchronization = high precision), and this can be calculated pairwise (as the standard deviation of the asynchronies of any pair of instruments in the music) or groupwise (calculating the RMS of the pairwise measurements to provide a group measure of synchrony). The terms "pairwise asynchronization" and "group asynchronization" are based on Rasch's descriptions of his measures. The Mean absolute asynchrony, calculated from the same asynchrony data, offers an alternative measure of precision (see Metrical Position with the section Relationship of Asynchrony to Event Density and Metrical Position for details).
As well as these measures of the precision of synchrony, we also calculate the relative positions of the different instrumental parts. Again, Rasch provides a starting point: Mean relative onset is calculated as the mean position of an instrument's onsets relative to the average position of the group.
In addition to Rasch's measures, we also calculate the Mean pairwise asynchrony, which calculates the relative position of two instruments directly from their simultaneous onsets. This measure is useful in determining, for example, whether the relative positions of two instruments varies with other factors such as tempo or event density. These measures are summarized in Table 4.
Measures of Synchronization
PRECISION Pairwise asynchronization = SD of the onset time differences of simultaneous sounds of two parts (such as between A1 and B1 in Figure 3; Rasch, 1988, p. 73)
Group asynchronization (A) = RMS of all Pairwise asynchronization values (Rasch, 1988, p. 74)
Mean absolute asynchrony Calculated as the mean of all unsigned asynchrony values
Mean vector length (r) Circular statistics measure of precision; scale from 0 – 1
ACCURACY (RELATIVE POSITION) Mean relative position Mean of one instrument's onsets relative to the group's mean position
Mean pairwise asynchrony Relative position of two instruments calculated as the mean difference in their onsets, i.e., the signed asynchrony values
Mean vector angle (µ) Circular statistics measure of relative position (i.e., relative phase)
Group Asynchronization (A) and Pairwise Asynchronization (Precision)
Group asynchronization provides the simplest way to compare the precision of synchronization across an ensemble. Rasch's (1988) group asynchronization values for performances by three Western classical trios (one of recorders, one of reed instruments, and the last of strings) ranged from 29–51 ms. Our values range somewhat lower, 15.6–34 ms, the highest value being from the ESQ corpus (see Table 5). This may indicate that Western chamber ensembles tend to be looser in synchrony than most of the cases in our collection.8
Group Asynchronization (A) and Pairwise Synchronization Across Six Corpora
Corpus .
Number of parts .
A (ms) .
Range of pairwise asynchronization (ms) .
MJ 4 15.6 12.6 – 18.8
UC 4 18.1 16.4 – 20.4
CSS 7 24.4 13.1 – 33.4
TS 2 28.0 18.7 – 34.7 [Segments]
NIR 2 29.1 18.5 – 54.0 [Segments]
ESQ 4 35.2 31.6 – 38.2
Note: NIR and TS performances were split into roughly equal Segments (c. 120 s and c. 50 s respectively), defined in order to generate a similar number of data points for these as for the other corpora, for which the range of Pairwise asynchronization figures refer to different instrument pairs. (See Table 6.)
Comparing the values in our collection descriptively, the tightest values are provided by drum ensembles of African origin, MJ (15.6 ms) and UC (18 ms). The two genres featuring plucked stringed instruments with drum or percussion accompaniment are looser (NIR, 29.1 ms and TS, 29.6 ms). CSS, which combines a percussion ensemble with plucked and strummed strings, lies between these two ranges (24.8 ms). Each of these examples shows notable variation however, between Segments of performances (TS, and particularly NIR), and between instrument pairs (CSS). Looking at the range of Pairwise asynchronization values for the groups of more than two parts reveals a wider range for CSS. The tightest pair, the conga and cowbell, exhibit a lower pairwise asychronization value (SD = 13.1 ms) than the group average for the two Afrogenic drum ensembles, while the loosest, the tres (lute) and trumpet, is much looser (33.4 ms).
Mean Relative Onsets and Melody Lead (Accuracy)
Distinct from the question of how tightly synchronized the groups are is the mean position of each instrument with respect to the group. In Rasch's (1988) study the ranges are small, up to about 5 ms. They display a tendency for lead melodic instruments to fall ahead of other instruments. For example, in a string trio the violins both play a couple of milliseconds early, the viola and cello late. In our study the range of Mean relative onsets is somewhat larger in the CSS and especially the TS corpora (see Figure 5). The NIR, MJ, and UC examples show all instruments within about 3 ms of the mean. The CSS group shows, on average, the cowbell and guitar playing about 5 ms after the mean onset and the tres 9 ms early (the tres plays a mixture of rhythm and lead material, so this could reflect a "melody lead").
Mean relative onsets (+/- SD) of instruments in six corpora.
Note that in the MJ corpus "jembe 1" can be considered the lead instrument, and it does play slightly ahead of the other drums, on average; the situation is less clear-cut in the UC drum ensemble as the "lead" can switch between instruments. In a string quartet the first violin is regarded as the overall leader, but the melody often moves between instruments: in our ESQ data violin 2 is slightly ahead of violin 1 on average, although both are ahead of the lower-pitched instruments. These summary data can of course hide variability within each corpus. In the NIR corpus the mean pairwise asynchrony across all examples is close to 0 ms: however, if we break the pieces down into Segments of about 2 minutes each (M = 120.2 s, SD = 8.2), the mean asynchrony between the melody instrument and the tabla accompaniment varies between +13.8 ms (melody lag) and -16.2 ms (melody lead). Thus, examples of both melody lead and melody lag are seen in NIR instrumental duos: more analysis would be needed to explore the musical factors that account for these variations (see Clayton et al., 2019).
Relationship of Asynchrony to Event Density and Metrical Position
If we look in more detail at the data for individual genres or pieces, it becomes clear that local patterns of asynchrony vary with a number of other factors. In this section we consider two factors that can be investigated in all corpora, namely event density and metrical position. These are unlikely to be the only factors that are be associated with differences in asynchronies between musicians, but they serve to illustrate the kind and scale of differences that we encounter.
Tempo and Event Density
To explore the possible relationship between variability in asynchrony and tempo, several different factors need to be taken into account. Tempo (usually calculated in beats per minute) is a measure of the rate at which a conductor or listener would mark the "beat" of the music. This measure is problematic, however, since the selection of a reference pulse level as the beat is subjective: two individuals may select different pulse levels in a 2:1 ratio, in which case one would estimate "tempo" as twice as high as the other. It is not possible to determine the appropriate beat level—referred to in musicological literature as the "tactus"—in a completely objective way, which creates problems for comparative analysis. (Within genres however, it is often possible to test for the dependency of asynchrony on tempo: see Clayton, Jakubowski, & Eerola, 2019.) Our judgement of how fast a piece of music seems to be is also dependent, however, on the rhythmic event density (i.e., the number of distinct event onsets per second), and this factor can be estimated objectively. (The limitation on this is the need to define exactly what qualifies as an event; onset detection algorithms require the setting of thresholds, on which the number of events counted depends. According to the analysis reported in Clayton et al. (in press), the mean proportion of event onsets missed in this process across samples from all 6 corpora was 4%, and the proportion of false positives 6.5%; the NIR corpus produced the highest error rates (up to 23%) due to the large dynamic range of the instrumental sounds.)
Figure 6 plots the Pairwise asynchronization figures for our collection against the summed event densities across the different corpora. The data represented by each point differ between corpora, with the aim being to compare a similar number of data points for each corpus (see Table 6).
Pairwise asynchronization (SD of pairwise asynchrony) plotted vs. event density for each pair of musicians across all corpora.
Number and Derivation for Summary Data Points Used in Comparative Analysis
Summary data points .
Method .
NIR 45 Each piece divided into roughly equal Segments, rounded up to nearest metrical cycle (duration M = 120.2s, SD = 8.2s).
UC 45 One data point for each pair of instruments in each take
MJ 51 One data point for each pair of instruments in each take
CSS 32 One data point for each pair of instruments across the corpus9
TS 39 Each piece divided into roughly equal Segments (duration M = 50s, SD = 3.7s), rounded up to nearest metrical cycle
ESQ 24 One data point for each pair of instruments in each take
We explored the relationship between asynchrony and event density by correlating Pairwise asynchronization with the mean summed event density (i.e., the sum of the mean event densities of the instrument pair being considered) across summary data (pieces, takes, or Segments). Analyzing the summary data points in this way suggests that there is an overall correlation between higher density and lower Pairwise asynchronization, r(234) = −.33, p < .001; thus, examples with a greater number of rhythmic events per second exhibit tighter synchronization. The patterns vary between corpora and between instrument types, however (see Table 7). Pairs involving drums and percussion instruments only, for instance, show no such correlation, r(101) = .09, p = .37. Tighter synchronization in faster passages could be due to the so-called subdivision benefit related to the scalar variability of a central timekeeper (Repp, 2003): however, the lack of such an effect with drum pairs remains to be explained. The corpora that show an overall correlation between summed event density and Pairwise asynchronization are the NIR, r(43) = −.40 p = .007, p <.01); CSS, r(30) = −.40, p = .024; and TS, r(37) = −.32, p = .047—those which feature a combination of melody and percussion instruments.
Correlations Between Asynchronization (SD Pairwise Asynchrony) and Summed Event Density
Correlation of Pairwise asynchronization with Summed event density .
All data r(234) = -.41, p < .001***
By instrument types Drum/ percussion only r(101) = .09, p = .396
Melody + drum pairs r(101) = -.23, p = .019*
Melody + melody pairs r(28) = -.16, p = .389
By corpus NIR r(43) = -.40 p = .007**
UC r(43) = .05, p = .730
MJ r(49) = .12, p = .385
CSS r(30) = -.40, p = .024*
TS r(37) = -.32, p = .047*
ESQ r(22) = .05, p = .814
The correlation between mean pairwise asynchrony (relative position) and summed event density was calculated for cases featuring a melody instrument with a drum or percussion instrument, which includes the NIR and TS corpora and some pairs of CSS only. The overall correlation for this data is r(101) = −.30, p = .002, indicating that, in general, the melody instrument plays further ahead with an increase in event density. We find this correlation to be significant in the TS, where the gumbri lute plays further ahead in denser passages, r(37) = −.67, p < .001; for NIR, r(43) = .22, p = .147. There may be significant correlations for specific instrument pairings in the other corpora that would be revealed by more detailed analysis.
Metrical Position
Is there any relationship between asynchrony and metrical position? For example, are pairs of musicians more precisely synchronized on downbeats than on other beats, or tighter on main beats than offbeats or subdivisions? If we regard musical meter as a form of attentional behavior, as London argues (2012), and if greater attention on specific moments in time is related to tighter synchronization at those points, then this is what we would hypothesize. Patel, Iversen, Chen, and Repp (2005) found that listeners synchronized more accurately (with smaller mean pairwise asynchronies) on beat 1 than on other beats when tapping to certain "metrical" stimuli (taking the form of sequences of tones with IOI patterns likely to evoke a metrical percept). Keller and Repp (2005) found that when tapping offbeats in time with metrically structured pacing sequences (sequences in which every 2nd, 3rd, or 4th tone is different to the others) finger taps are delayed at downbeats relative to other beats: they explain this by hypothesizing "a regularly applied, meter based phase-resetting mechanism stabilizes syncopation" (p. 292). Keller and Repp's finding is echoed by Friberg and Sundström's demonstration (2002) that in a selection of jazz recordings, soloists played more accurately and more precisely on offbeats than on downbeats (they tend to play later and with greater variability than the ride cymbal on downbeats, the effect being larger at slower tempi). Polak et al. (2016) refer to the possible variation of asynchrony with subdivision position in the MJ corpus, demonstrating an effect of subdivision position on variability of the IOIs (the first subdivision of each beat is found to be less variable in duration than the others). It remains to be demonstrated, however, whether an effect of metrical position on synchronization can be generalized across musical genres in performance.
In this subsection we present the results of analysis of the effect of metrical position on synchronization across five corpora (The ESQ corpus is not included here due to the small amount of data, but full results for all corpora and pairings can be found in Supplementary Table 1 online at mp.ucpress.edu). Do either (a) precision or (b) relative position vary by metrical position? "Metrical position" here can be represented by diverse factors in the different corpora. We compared "strong" and "weak" metrical positions at one or more levels in each of the corpora, as follows:
UC, CSS, and MJ corpora, all at two levels: (1) Beat 1 vs. the other beats, and (2) The four main beats vs. their subdivisions. Results are presented for each pairing separately.
NIR: Only examples in the 16-beat cycle "teental" were analyzed, but these were separated into slow (vilambit), medium, and fast (drut) tempo pieces. They were analysed at two levels: (1) The four "vibhag" beats (those strong beats marked by hand gestures) vs. other beats, and (2) Beat 1 vs. the other three "vibhag" beats. Results are presented for different tempi separately.
TS, at one level: Beat one (the metrical downbeat) vs. other beats. Separate analyses are given for the four different rhythmic patterns on which the eight pieces are based.
Since in many cases there are a greatly different number of data points for weak as opposed to strong metrical positions, we randomly sampled (without replacement) an equal number of asynchronies from the larger set as the number in the smaller set, for each analysis. This analysis was repeated 1,000 times, and mean differences, 95% confidence intervals (CIs), and p values were computed in each case. In this analysis we used mean absolute asynchronies for the precision measure, in order to use an analogous sampling procedure for both signed and absolute asynchronies (rather than using a single, summarized SD calculation for each piece). The full results of these analyses are reported in Supplementary Table 1.
The analysis of the difference in precision (mean absolute asynchrony) between strong and weak metrical positions shows many examples of significant differences across the corpus (see Figures 7 and 8). However, these differences are fairly evenly divided between examples in which strong beat positions are more precisely synchronized than weak beats and vice versa (tighter synchronization on weak beats). Many of the differences are also small in magnitude. Examples of some of the larger effects are:
The clave and bongo are more precisely synchronized on beat one than the other beats in the CSS corpus (mean absolute asynchrony 12.3 ms vs. 18.2 ms).
The gumbri and shqashiq are less precisely synchronized on the main downbeat than on the weaker beats in the bousaadeya rhythm in the TS corpus (mean absolute asynchrony 47.6 ms vs. 31.7 ms).
Mean difference in ms (+/- 95% CI) between beat 1 vs. other beats for each corpus (UC, MJ, and CSS, by pairing; NIR, by tempo; TS, by rhythm; for CSS, only the pairings in the nominal "rhythm section" are shown). Positive mean difference values denote tighter synchrony (smaller absolute asynchronies) on beat 1 than other beat positions. p < .05 = *, p < .01 = **, p < .001 = ***. UC: C = chico, P = piano, R = repique. MJ: D = dundun, J = jembe. NIR: "vilambit" = slow, "teental" refers to medium tempo, "drut" = fast).
Mean difference in ms (+/- 95% CI) between beat vs. subdivision for each corpus and pairing. Key as Figure 7.
The analysis of the difference in Mean relative position between strong and weak metrical positions also shows many examples of significant differences across the corpus. In most cases these differences are of just a few milliseconds, but a few examples stand out:
Between gumbri lute and shqashiq cymbals in two of the four rhythmic patterns in TS: the gumbri is further ahead by 17.2 (sudani) and 18.8 (bousaadeya) ms on the "strong" than the "weak" metrical position.
The chico drum is 13.6 ms further ahead of the piano on the main beats than on their subdivisions, in UC.
These results are presented with the aim of both reporting the size of effects found in these corpora, and establishing where clear patterns seem to emerge cross-culturally and where not (in particular, that tighter synchrony on metrical downbeats does not seem to be a general tendency). It is beyond the scope of this paper to attempt to interpret the significance of differences observed in each corpus, but see Clayton et al. (2019) for more detailed interpretations of the NIR results.
A number of factors can be identified that contribute to variations in synchronization, which could therefore contribute to our model of IME. The main factors identified to this point are:
Instrument type. We have clearly seen that pairwise synchronization between drums or percussion instruments is tighter than that involving melodic instruments, while pairs including plucked string instruments are tighter than those involving bowed instruments (NIR and TS vs. ESQ). This progression is from short envelopes with clearly defined onsets to more sustained sounds with less defined onsets. As noted above, further work on perceptual onsets is necessary here; another factor that needs to be explored empirically is the time for which sounds are sustained (which is clearly much shorter for most drums than for bowed string tones).
Event density. There is an overall tendency for synchronization to be tighter at higher event densities. The picture is not straightforward when comparing across corpora as other factors, such as instrument type, have bigger effects, and a significant correlation is not found in all corpora. We found no relationship between event density and precision of synchronization in drum/percussion pairs.
"Melody lead." Although there are some exceptions, instruments taking a lead role (which is often the main melody in the texture but can also apply to lead drum parts) tend to play a few milliseconds ahead of the group, on average. Melody lead may be more pronounced at higher event densities, as we observed for the TS corpus.
Metrical position. We do not observe a clear pattern of greater precision on strong metrical positions, as would be predicted by a hypothesis that musicians attend more to synchronizing with each other at particular points in the metrical cycle. Nonetheless we do observe numerous differences between precision and/or mean relative position according to metrical position, effects which depend on specific instrument pairs.
The first two factors point to the significance of acoustic factors on the synchronization mechanism. In brief, future studies could test the prediction that shorter instrument sounds (shorter acoustic envelopes) increase synchronization precision, independent of the music's cultural, genre-specific characteristics. The relationship between precision and greater event density (and tempo, where tempi can be compared fairly; see Clayton, Jakubowski & Eerola, 2019) is similarly independent of corpus when melodic sounds are involved. We did not observe this effect for drum-only pairings, however. Studies of very low-density percussion genres would help to explore this factor further. "Melody lead" has been explained in terms of the melody part being given more prominence by being performed slightly ahead of its accompaniment. The descriptive results in Figure 5 suggest that this phenomenon could be present cross-culturally, but by no means universally. Indeed, only certain kinds of music have a consistent lead-plus-accompaniment ensemble structure, so we would not expect to find evidence of "melody lead" everywhere; and even where this melody/accompaniment distinction pertains, there may be other factors determining who plays ahead in time. The diverse effects found of metrical position could be related to melody lead (or melody lag, since we find that lead instruments sometimes play significantly behind their accompaniments; the lead part may either push ahead or pull behind at stronger metrical positions), or to diverse local factors concerning the rhythmic patterns played by each instrument in relation to the metrical framework.
Beyond the specific factors that have been explored in this comparative analysis, future research is needed to investigate a number of other factors that may be linked to differences in synchronization. Individual variation is likely to play a role (see the section Evolution and Development), especially when we investigate less skilled performers than those studied in these examples, all of whom were selected as experts in their respective styles. In many styles increased event density and/or tempo occurs alongside increased dynamic levels, which suggests dynamics may also be investigated. Not least, any number of high-level musical factors may contribute to variability, many of which would be specific to particular kinds of music: for instance the difference between composed and improvised sections, when a particular instrument is given prominence (by taking a solo); relatively homophonic vs. contrapuntal textures (i.e., whether everyone plays the same rhythm or conflicting rhythms), whether a cadence (a formula signaling closure) is approaching, and so on. Detailed investigation of all these factors is beyond the scope of this paper.
Overall, these analyses do not support the hypothesis that strong metrical positions are more precisely synchronized than weak. This analysis of synchronization between expert musicians contrasts with Patel et al.'s (2005) finding (see above). Clearly however, the task of tapping along with a stimulus is very different from the task of performing music with other people, since in the former case the stimulus does not adjust to the tapper, and this difference in task may explain the contrasting results. Even within corpora, in groups larger than two we find that some pairings are more precisely synchronized on strong positions at the same time as other pairings are less precise. We suggest, therefore, that variations in precision are difficult to explain as global effects of metrical structure per se, but rather may be due to differences in the specific rhythmic patterns being played at different parts of metrical cycles (to put it another way, rhythmic patterns tend not to be randomly distributed across the metrical framework). These differences are likely to result in many cases in small differences in the precision and/or mean relative positions of instruments by metrical position.
The factors we have investigated so far suggest, nonetheless, that synchronization between musicians could in principle be modeled using factors including onset or acoustic envelope characteristics, role (lead vs. accompanist or group member), event density, and metrical structure. Where any of these factors either change (e.g., the "lead" role switching between musicians) or continuously vary (e.g., event density), we would expect to find changes in synchronization over time: synchronization may get tighter or looser, or the relative positions of instruments change either continuously or suddenly. This could be explored systematically in future studies of musicians performing under more constrained conditions that allow some of these variables to be manipulated.
Interpersonal Coordination in Music Ensembles: Continuous Data From Ancillary Movements
In order to explore coordination empirically, we next present a case study of the temporal relationships between co-performers' ancillary movements, using video recordings of professional musicians from three corpora (MJ, NIR—of which a different selection of recordings is used from that in the section Interpersonal Synchronization in Music Ensembles: Onset-based Comparative Analysis—and the "Improvising Duos'" corpus, comprising standard jazz and free improvisation). Due to the slower timescales over which ancillary movements evolve in comparison to sound-producing movements, it is possible to track these movements from standard video recordings (despite the lower sampling rate of video in comparison to motion capture systems, for instance; Jakubowski et al., 2017). This allows us to make use of field recordings collected in diverse locations throughout the world. (Although a huge number of music recordings from around the world is freely available, for example via web sharing platforms, the methods presented here rely on static shots, which are relatively rare, as well as expert annotation; nonetheless, our approach expands the range of usable recordings considerably beyond the set of available motion capture data sets.) Our primary aims in this case study are 1) to demonstrate a relevant quantitative method for measuring coordination between co-performers (using automated tracking of ancillary movements and cross-wavelet transform (CWT) analysis), and 2) to examine how such movement coordination varies as a function of musical structure (i.e., at section boundaries).
Three corpora of video recorded musical performances were used. These were chosen to partially coincide with the audio recorded performances utilized in the onset analysis reported in the section Interpersonal Synchronization in Music Ensembles: Onset-based Comparative Analysis, although it was not possible to use exactly the same materials, as some audio recordings did not have corresponding video recordings (or corresponding video recordings did not meet the required specifications for the automated motion tracking procedures, outlined below).
The first corpus was a subset of the MJ corpus described above, comprising three performances of the piece "Maraka" played by trios: jembe 1 (soloist), jembe 2 (accompanist who plays ostinato rhythms), and dundun (bass drummer who plays a repertoire-specific timeline pattern).10 The same three performers played in all three recordings; however, for MJ_Maraka_3 the two jembe players switched roles (the soloist took on the accompanist role and vice versa). The mean duration of these video recordings was 160.7 s (SD = 26.7, range = 145 to 341 s).
The second video corpus, "Improvising Duos," comprised 15 performances of free improvisation and 15 performances of the jazz standard Autumn Leaves, which have been used in previous research on aspects of visual interpersonal communication in music performance (Eerola et al., 2018; Moran et al., 2015; video corpus published as Moran, Jakubowski, & Keller, 2017). Within this corpus, five different duos performed the free improvisations (a style of music that deliberately avoids a regular musical pulse) and six duos performed the standard jazz improvisations (Autumn Leaves, in a 4/4 meter with a regular pulse). These duos comprised 12 different instruments (e.g., saxophone, piano, double bass, drums, etc.) and the mean duration of the 30 performances was 157.0 s (SD = 55.7, range = 98.3 to 336.5 s).
The third corpus was a set of six North Indian classical music performances (three featuring a vocal soloist and three featuring an instrumental soloist) drawn from the same NIR corpus described in the previous section (Clayton et al., 2018); the selection of recordings used in this section is different from that in the synchronization analysis above, however.11 As these performances are much longer in duration than the pieces in the other corpora, we focused on only the slow tempo sections. In each case only the soloist and tabla player was studied, to allow instrumental and vocal examples to be compared directly, although in some cases the ensembles were larger, including harmonium players (with vocal only) and/or one or more players of the accompanying plucked lute tanpura. The mean duration of these sections of the video recordings was 1711.1 s (SD = 758.2, range = 796.5 to 2901.9 s).
Although recorded in different settings using different equipment, all videos met the necessary criteria for the automated movement tracking procedures that we implemented. Specifically, the videos in all three corpora were recorded with fixed cameras (e.g., on a tripod) and a constant camera angle (e.g., no zooming or panning), with no substantial changes in lighting during the course of each performance. Performers were well separated in space, such that their movements did not occlude one another. All videos were recorded at a sampling rate of 25 Hz.
Movement Data Extraction
The movements of each performer were tracked using dense optical flow (OF) estimation in EyesWeb XMI 5.7.0.0 (http://www.infomus.org/eyesweb_ita.php). OF is a computer vision technique that performs two-dimensional (x and y) movement tracking on video data by estimating the apparent velocities of objects. The implementation of OF used here is based on the algorithm of Farnebäck (2003) and has been validated for use in tracking ancillary movements from musical performers in Jakubowski et al. (2017). Movement tracking was implemented for all performers in the "Improvising Duos" and MJ corpora, and for the soloist and the tabla player in the NIR corpus. First, in the video frame, a region of interest (ROI) was manually defined around the head and shoulders of each performer. Movement within each ROI was then automatically tracked using the OF algorithm (for a detailed description of the method see Jakubowski et al., 2017). The choice to track head and upper body movements is motivated by previous work, in which it was found that 97% of ancillary movements that were deemed as communicative by expert musicians fell into this category (e.g., head nods, body sway; Eerola et al., 2018). Of course, video recordings are two-dimensional and motion tracking using OF does not capture motion in the third dimension. It is possible therefore that if coordinated movements are primarily in this dimension then coordination could be underestimated using this method. Future studies could explore the use of multiple camera angles to attempt to mitigate this issue. Other options include retaining the two dimensions of movement separately, and or retaining phase information (see Eerola et al., 2018). Doing so in studies of individual corpora may prove productive, although to do so on a comparative basis is beyond our scope here.
Quantifying Movement Coordination Between Co-performers
A pairwise measure of co-performer coordination was calculated using cross-wavelet transform (CWT) analysis (See the data analysis section in Measuring Entrainment in Musical Ensembles). The aim of the present work was to examine how CWT Energy varied over time in relation to the musical structure, with a particular focus on section boundaries, in order to investigate the role of ancillary movements in coordinating musical transition points.
Before implementing the CWT analysis, the x- and y-coordinates of each performer from the OF data were detrended using linear regression and converted to polar coordinates, and the radial coordinates (ρ) from each performer were retained for the subsequent analysis. The CWT analysis was applied across a broad frequency range from 0.3 to 2.0 Hz (in line with Eerola et al., 2018), in order to capture a wide range of co-occurring periodic movements. The first and last two seconds12 of each performance were excluded, in order to avoid artefacts within the CWT analysis. The resultant CWT Energy measure of pairwise movement coordination was normalized to a range of 0 to 1 for each performance.
Annotations of Musical Structure
For each of the three video corpora, meaningful boundary points within the musical structure were annotated by the expert researcher who had made the original video recordings. The MJ performances were divided into sections based on the theme that was being played, and also contained sections marked as improvisation. The "Improvising Duos" performances were demarcated into solo and joint sections, to represent transitions between sections where the performers were playing together vs. sections where one performer was soloing. The NIR music was labeled into terms of the repetitions of the tala (metrical) cycles, which are a key feature of this music (Clayton, 2000). All annotations of musical structure were performed in ELAN (Sloetjes & Wittenburg, 2008).
Describing Movement Coordination in Relation to Musical Structure
Figure 9 shows one full Maraka performance (MJ_Maraka_1), selected at random from the MJ corpus for the purpose of visualising and describing our approach. The time series curves show the CWT Energy of each pair of performers over time, and the annotated music structural sections are labeled via vertical lines. This plot gives a descriptive indication that coordination of periodic ancillary movement increases at some points of structural transition (e.g., going into the second instance of improvisation 2, and the beginning of the finale section). However, this visualization also suggests this relationship may vary depending on the pairing that is being examined. For instance, the jembe 2 and dundun player often move concurrently in a periodic fashion in the middle of structural sections (e.g., basic theme 2 and basic theme 3).
Pairwise CWT Energy for the three performers in MJ_Maraka_1 from the MJ corpus plotted over time (onsets of music structural sections labeled via vertical lines).
Another randomly selected example of a full performance is presented in Figure 10; this is NIR_VK_Multani from the NIR corpus. The CWT Energy curve shows pairwise movement coordination between the vocalist and tabla player, and in this case vertical lines represent the start of each metrical cycle. This plot shows that there are many clear instances where movement coordination between the two performers increases at the start of a metrical cycle.
Fig. 10.
Pairwise CWT Energy for the vocalist and tabla player in VK_Multani, khyal in vilambit ektal, from the NIR corpus, plotted over time (onsets of metrical cycles labeled via vertical lines).
Testing Variation in Movement Coordination in Relation to Musical Structure
We next sought to test whether CWT Energy was systematically different at musical section boundaries than non-boundaries for each piece in each corpus. We applied the same analysis technique for each piece as follows. First, the mean CWT Energy in a window centered around each section boundary was computed. We used a window size of 10% of the mean section length of the piece, to take account of the differing section lengths across different musical styles (mean window size in MJ = 1.43s, "Improvising Duos" = 2.49 s, NIR = 3.05 s). To select an equal quantity of CWT Energy data for comparison to the data within the section boundary windows, we shifted each section boundary to a randomly selected timepoint, with the conditions that: a) each boundary could move forward/backwards in time up to 50% of the window size before/after the adjacent section boundary, and b) each boundary had to move forward/backward in time at least the length of the window size. This preserves the number and relative spacing of section boundaries, whilst ensuring that "non-boundary" sections will not contain any of the same datapoints as the section boundary windows. We then compared the mean CWT Energy around boundaries vs. non-boundaries, using the same window size for each. The process was repeated 1,000 times for each piece, with a new round of random sampling of non-boundaries each time. We calculated the pairwise mean difference between CWT Energy in each section boundary window and its corresponding non-boundary for each iteration and computed an overall mean difference and 95% confidence interval (CI) across all iterations of the analysis for each piece in each corpus. Figures 11 through 13 show the results of this analysis for each of the three corpora separately. Full results can be found in Supplementary Table 2 (online at mp.ucpress.edu).
Mean CWT Energy (+/- standard deviation) within windows around boundaries vs. non-boundaries by piece and instrument pairing (MJ corpus, Maraka_1, Maraka_2 and Maraka_3). p < .05 = *. Note that no pairwise comparisons here exceed a Bonferroni-corrected threshold for nine tests of p < .0056.
As seen in Figure 11, in the MJ corpus, movement coordination (as measured by mean CWT Energy) was higher at section boundaries than non-boundaries for most performer pairings across the three pieces, with an overall mean difference in CWT Energy (computed as mean CWT Energy at boundaries minus non-boundaries) across the corpus of 0.04. However, this difference between the mean CWT Energy at boundaries minus non-boundaries was not statistically significant across the corpus as a whole (95% CI: [-0.05, 0.12]). There were some variations related to performer pairing, as the mean difference in CWT Energy between boundaries/non-boundaries was lower for the jembe 1 and 2 pairing (Mdiff = -0.005) than the other two pairings (jembe 1 & dundun: Mdiff = 0.065, jembe 2 & dundun: Mdiff = 0.061). This could indicate that the two jembe players rely more on other cues to coordinate (e.g., eye contact, auditory cues), or rely on peripheral vision of one another's hands due to sitting next to each other, rather than ancillary movement cues at points of transition.
Figure 12 shows the results for the "Improvising Duos" corpus. This corpus shows much diversity, with some clear examples of increased movement coordination at section boundaries (e.g., Piece 25), but other pieces showing no clear tendency—or even the opposite pattern (Piece 12). This large degree of variability across pieces may relate to the 22 different performers implicated in this corpus, who might each have their own personal style for communicating points of musical transition. Across the corpus as a whole there was a small overall difference in means in the direction of increased movement coordination at section boundaries as compared to non-boundaries, but this difference was not statistically significant (Mdiff = 0.03, 95% CI: [-0.07, 0.11]). At the individual piece level, there was a significant increase in movement coordination at section boundaries for five pieces (Piece 1, 4, 18, 25, and 27), or three pieces following Bonferroni correction (Piece 1, 25, and 27). In addition, the difference in movement coordination at section boundaries versus non-boundaries was somewhat more pronounced for jazz standards (Mdiff = 0.04) as compared to free improvisations (Mdiff = 0.02). This does not necessarily indicate that the free improvisers are not coordinating via movement cues at music structural boundaries; one possibility could be that the unplanned and unpredictable nature of this music means that the performers actually need to coordinate more often than at these larger structural boundaries (e.g., subsections) in order to produce a coherent performance. This is consistent with Schögler's analysis (1999) of jazz duets, which found coordination to be higher in the seconds immediately before "points of change." On this basis we might expect that in music with more frequent transitions, we also find more frequent moments of higher coordination. Thus, movement coordination may be more similar at boundaries versus non-boundaries in the free improvisation than in the standard jazz, whereas in standard jazz a shared sense of the musical pulse can facilitate coordination between structural boundary points.
Mean CWT Energy (+/- standard deviation) within windows around boundaries vs. non-boundaries by improvisation style (Improvising Duos corpus). p < .01 = **, p < .001 = ***. Note that only the comparisons marked *** exceed a Bonferroni-corrected threshold for 15 tests of p < .0033.
Finally, the results for the NIR corpus are shown in Figure 13. Four of the individual pieces in this corpus showed a significant difference in terms of mean CWT Energy being higher at section boundaries than non-boundaries (Pieces 1, 2, 5, and 6), with a significant mean difference across the corpus as a whole (Mdiff = 0.05, 95% CI: [0.03, 0.06]). The colors in the figure show the pieces that feature an instrumental versus vocal soloist, which indicate that there is a more pronounced difference in CWT Energy at boundaries for the vocal (Mdiff = 0.07) than the instrumental performances (Mdiff = 0.03). As demonstrated in Clayton et al. (2019), this effect is largely apparent where the metrical boundary coincides with a cadential boundary in the instrumental pieces; the larger effect in the vocal pieces may be due to the fact that a higher proportion of metrical boundaries coincide with cadences in the vocal than the instrumental pieces.
Mean CWT Energy (+/- standard deviation) within windows around boundaries vs. non-boundaries by piece and soloist type (NIR corpus: 1 = ABh_Puriya, vilambit teental (sitar); 2 = VK_Multani, vilambit ektal (vocal); 3 =VS_Bhoop, vilambit ektal (vocal); 4 = PrB_Jhinjhoti, rupak tal (sarod); 5 = NGh_Tabla, vilambit teental (tabla solo); 6 =SCh_Malhar, vilambit ektal (vocal)). p < .001 = ***. Piece 2 is the same as that illustrated in Figure 10. Note that all significant comparisons marked *** exceed a Bonferroni-corrected threshold for six tests of p < .0083.
In sum, we have demonstrated one of many possible approaches for quantifying and testing variations in co-performer movement coordination as a function of musical structure. More detailed study of ancillary movement coordination could include, for example, expert annotation of other points of change than section boundaries, analysis of gaze patterns, or performer interviews. Such additional elements could allow exploration of different types of transitions; for example, do tempo changes differ from changes in texture, harmony or other (genre-specific) features? Analysis of gaze patterns and performer interviews could help to elucidate the extent to which musicians are conscious of increased coordination (or increased negotiation or information exchange) at these points. More detailed analysis could also explore the temporal structure of coordination in more detail, for example the point at which greater movement coherence begins in relation to the occurrence of a transition, or the use of any explicit cues by musicians. It is beyond the scope of this paper to go into this level of detail on a comparative basis.
In this section we outlined some of the wide variety of data types available for studying IME, both discrete and continuous, and how to apply different methods in practice. Our analyses exemplified the two data types, while also focusing on different modalities and timescales. This should not however be taken as implying that, for example, only acoustic information is relevant at short timescales, or only continuous movement data is available for longer-term processes.
In the section Interpersonal Synchronization in Music Ensembles: Onset-based Comparative Analysis we analyzed synchronization using onset timing data from a diverse selection of six musical genres. The Group and Pairwise asynchronization figures suggest a spread from relatively precise synchrony for the Afrogenic drum ensembles (MJ, UC) to lower precision in melodic genres such as the ESQ, some Segments of NIR and TS, and some pairings in CSS. Precision of synchronization in our corpora is correlated with event density for examples including a melody instrument, but not drum/percussion only pairings. We found many examples of significant effects of metrical position on precision, but these tend to cancel each other out when the group as a whole is considered, with some pairings more precise and others less so on theoretically strong metrical positions. We thus found little support for the idea that synchrony is universally more precise on strong metrical positions. Mean relative positions (mean time differences between one instrument and the average of the group) tend to be less than 5 ms in most cases, with a few outliers: the gumbri plays significantly ahead in TS, for example, and plays further ahead at higher event densities. Metrical position again has an effect on mean relative position in various cases, but there is no clear overall tendency.
In the section Interpersonal Coordination in Music Ensembles: Continuous Data From Ancillary Movements we explored the coordination of ancillary movement between pairs of performers in relation to musical structure in three contrasting corpora. These three corpora contrast musically in almost every respect: nonetheless, each corpus contained examples of pieces where movement coordination increased at section boundaries. However, it is clear that this pattern varies notably across styles and performers. The NIR corpus showed the clearest support for the idea that movement coordination increases at section boundaries, with the MJ corpus providing limited evidence in this regard. This may be due to the fact that in NIR, eye contact and the expression of pleasure at cadences is a common feature of performance practice, whereas this is not the case in MJ. These results also suggest other factors such as genre, instrument, ensemble size, and spatial positioning of the ensemble, may affect these results in, as of yet, unexplored ways. More analysis needs to be carried out on this question, including exploring the role of different rates of movement (i.e., isolating different frequency bands in the CWT data, rather than taking account of all movements across a broad frequency range).
What does this tell us about the cultural variability, or lack thereof, in IME? The fact that the precision of synchronization between drum/percussion pairs is similar in the different examples, and that melody/drum pairs become more precise at higher densities while drum/percussion pairs do not, suggests that to this extent synchrony varies with physical factors such as the envelope type of the typical instrument sounds or the speed at which people play. These factors can be described as "cultural" in the broad sense outlined in the section The Role of Social and Cultural Factors in a Model of IME, and we have also seen how recent synchronization models incorporate a role for top-down influence of internal representations, that may include culturally specific representations of aspects of musical structure. However, although we cannot rule it out on the basis of our analysis, we have seen no evidence that these factors are cultural choices (e.g., in the sense that group A plays more precisely because they value the feeling of being tightly synchronized more than group B). We may hypothesize that for a given musical structure, taking into account the type of sounds produced, the complexity of their interrelationship, speed of performance etc, a performance ceiling exists for precision of synchronization: for example, event onset perception is limited by the shape of envelope onsets and it is impossible to be more precise than this variability allows. Then we might ask, what scope is there for groups to deliberately vary the precision of synchronization? Must each individual perform at their optimal level, or can they play more "loosely" for aesthetic reasons? We have not collected evidence that could answer this question. If there exists a musical genre in which performers consistently perform suboptimally in terms of synchronization precision by choice, it would be necessary to ask them to record the same music with greater precision in order to demonstrate this. Anecdotally, musicians in many different traditions are aware of the possibility of playing more mechanically or more regularly than they in fact choose to do. Are they similarly able to turn synchronization precision up and down? That is less certain.
We are clearly observing a common phenomenon (SMS) that employs a very similar cognitive and motor architecture cross-culturally, albeit one that can be modified by learning. The common tendency to move in a more coordinated fashion at structural boundaries may be a side-effect of musicians paying each other greater attention at these points, just as experimental research has found individual movements become more coordinated in the presence of visual attention (Kawase, 2014). At the same time, all of these same factors do evidence significant cultural variability. Musical groups may be more or less tightly synchronized than others: this is linked to physical factors, but people can make choices as to what instruments to play and at what speeds. Cultural factors influencing IME, in this sense, must include choice of instrumental sounds and articulation, speed of playing, complexity of musical texture and musical transitions, and group leadership and hierarchy. We may all share a tendency to move together when coordinating activity, but some genres such as NIR clearly make this an explicit part of the performance practice by increasing mutual attention and eye contact at specific moments (this is both recognized by performers and observed empirically; Clayton & Leante, 2015; Moran, 2013), while this is less obviously the case in some other musical cultures and styles. Considerable variety is therefore built on shared processes.
Perhaps the most significant observation to come out of this analysis is not the quantitative findings, but our reflection on the process of exploring synchronization. In order to understand how precisely musicians synchronize we need to specify the metrical structure that they all relate to. In some cases, such as NIR, assigning event onsets to metrical positions is a time-consuming and often subjective task that is not possible without making informed decisions as to what kind of pattern a musician is intending to play. The same process in MJ music may be less subjective, but here we have to build into the model the fact that in some pieces subdivision IOIs are non-isochronous. In both of these contrasting examples, in order to understand how musicians synchronize we have to build into our model an aspect of their shared knowledge, whether the peculiarity of a metrical structure or experience of the kinds of rhythmic variations musicians are likely to play in a given musical style. If this knowledge is essential in order to measure synchronization, we also propose that it is necessary for the musicians in order to synchronize effectively. This dependency of synchronization—let alone coordination of structural transitions—on detailed culturally shared knowledge needs to be incorporated in our model of IME.
We concluded our review section by proposing that while existing models offer a great deal to studies of IME, a more comprehensive picture should be possible by combining different levels of explanation to include both a neurophysiological mechanism for synchronization, a broader understanding of the different components of IME, and a model of the relationships between entrainment, social, and cultural factors. Further, we have suggested the need to consider a wider variety of the musical factors that allow individuals to coordinate and anticipate the progress of musical performances. The latter, we suggested, should include more explicit acknowledgement of culturally shared knowledge representations, which would allow the larger model to address the ways in which IME is culturally mediated as well as socially effective.
The analyses in the third section of this paper (Measuring Entrainment in Musical Ensembles), while exemplifying only two of many possible approaches, helped to establish the principle that IME can be analyzed at different levels in the same example, using both discrete and continuous data, and that these analyses can be compared cross-culturally. They help to demonstrate the fact that IME is dependent on culturally specific and shared knowledge at different levels, from internalizing timing patterns and hierarchies up to anticipating the kinds of rhythmic variation that are likely to occur in a given style. The analytical results demonstrate that while similar mechanisms can be observed in action in highly contrasting examples, many of the choices that people make, from the size of groups and the choice of instruments to the assignment of leadership roles, have a quantifiable effect on IME. What these analyses also show is that to a significant extent cultural variability is not simply—or even necessarily at all—a question of aesthetic choice, but may be determined by the behavior of the underlying systems: for example, if cultures who use drum ensembles rather than bowed lute ensembles (e.g., string quartets) are more precisely synchronized, this difference may be explainable in terms of the acoustic properties of the sounds produced. (This does not imply a neurological difference between cultures but may reflect the influence of different acoustic signals on a common system.) This is cultural in the sense that the choice of instrument type is down a particular group of people passing instrument designs and playing techniques down the generations; it nonetheless depends on cognitive and motor systems operating in ways that may be less culturally variable. Bearing all of this in mind, in the following section we present an expanded model of IME.
An IME Model
Figure 14 illustrates complementary aspects of the conceptual model we propose of interpersonal musical entrainment (IME). This model focuses on the act of performance; individuals who can listen and entrain to the music but not influence it in any way (e.g., audience members) are not represented here, and it is not intended as a model of a listener responding to recorded music (for approaches that encompass these scenarios, see Leman, 2007, 2016; Trost et al., 2017). It assumes current understanding of the neurophysiological processes involved in musical entrainment while adding both a clear role for longer-term processes and structures and consideration of which aspects of IME may be culturally determined, and which may be influenced by or have an effect on social interaction. The synchronization part of the model is illustrated in brown boxes (A-D, lower pane); the points of change illustrated in Box F fall under "coordination," with Box E (metrical and phrase structure) relating to both components, extending the synchronized short-term patterns to cover longer time-spans. Some key factors of social coordination (purple, Boxes G and H) and social role and hierarchy (blue, Boxes I and J) are also illustrated.
Model of Interpersonal Musical Entrainment that accounts for synchronization at short timescales and coordination at longer timescales. The lower pane illustrates the synchronization part of the model (boxes A-D), while the upper pane depicts elements related to shared representations of musical structure (C-F), social coordination (G & H), and social role and hierarchy (I & J).
Short-term Psychological Factors: Synchronization
The lower panel (boxes A-D) illustrates the short-term processes involved in SMS. The synchronization process is understood here to be founded on the embodied structures and processes described in existing theories, including both bottom-up and top-down processes. The relationship between physical signal, temporal percepts (including meter), internal representation of the music's short-term structure and planning and motor control is drawn schematically in the figure's four main boxes. Physical signals (box A)—auditory and in other modalities—can give rise to a perception of temporal structure, such as meter (bottom-up processing), but this percept (box B) can also be influenced by existing representations of the music's short-term structure (box C, top-down processing). The structural representation is also updated on the basis of what is perceived. Referring to the represented structure the individual musician can anticipate motor actions, which are planned in such a way that the resulting sounds align temporally with those predicted for the rest of the group (box D); in fact, it is the combined physical signals produced by all participants that inform perception (although a musician may be more influenced by some parts than others). The basic synchronization process described as "adaptation" in the ADAM model may be regarded as a loop between boxes A and B; influence from box C adds the "anticipation" part of that model. Most entrainment models effectively include boxes A, B, and D in some way—acoustic signals, their perception and motor production; models including a top-down element such as ADAM, rich BPS, and other dynamic models including Active Sensing, include all four of these elements.
The physical signals comprise the only evidence available to the musicians that they are coordinating appropriately, allowing them to judge prediction errors and adjust. Participants may infer from this that they all share the same representations and perceptions of the music (although in fact their internal representations may not need to be identical in order for them to be entrained appropriately).
What is clear from this part of our model, and the previous models on which it draws, is that low-level processes such as error correction and neural resonance interact with higher-level processes involving the representation of musical structures and the planning of performance. What needs to be investigated is how higher-level processes interact with the low-level neural processing; and also, how these representations are learned and shared within communities (their cultural dimension). Both the acquisition of such representations in development and music training, and their historical development, are important topics related to IME.
Our synchronization analyses in the section Interpersonal Synchronization in Music Ensembles: Onset-based Comparative Analysis explored IME by measuring the timing of auditory events in relation to a known metrical structure. This analysis showed that precision tends to increase with higher event density and be higher for percussion instruments than for melodic instruments (perhaps because of their shorter sound envelopes). The fact that these patterns are observed across different corpora may suggest that these factors arise from constraints at the neurophysiological level without significant input from culturally shared knowledge representations: more temporally dense input with clearly defined onset times leads to more precise synchronization. If this proves to be the case, these factors can be regarded as aspects of bottom-up processing. We did not observe this relationship with drum pairs, however: more work needs to be done on the interaction between acoustic envelope and event density in order to explain this finding. Another limitation of the analysis in the section Interpersonal Synchronization in Music Ensembles: Onset-based Comparative Analysis is that the possible differences between physical and perceptual onsets are not taken into account. Whether the lower precision of bowed instruments simply reflects a margin of error in the perceptual estimation of onset times, or other factors are involved, remains to be explored. For instance, if the temporal difference between onset and p-center for a given instrument is fairly constant (recent estimates suggest that differences are generally less than 40 ms with variability rarely over SD ∼20 ms, see Danielsen et al., 2019; London et al., 2019), then a fixed asynchrony difference when comparing slow-onset and fast-onset instruments would be expected, with the slow-onset instrument perceived to sound relatively late.
Social and Cultural Factors: Synchronization and Coordination
Another aspect of variability in the synchronization analysis concerns mean relative position—in other terms, phase differences between the different musicians' parts. Although the picture is complicated, in many cases where the musical structure involves a clear leader, such as a melodic soloist accompanied by a percussion part, the "lead" part tends to play ahead in time. (This was also observed with the "lead" drum in the MJ corpus, and Clayton et al. (2019) have shown a similar result in terms of the switch in mean relative position in some of the Indian performances as the lead moves between melody part and tabla). This is one way in which sociomusical factors are represented in our model: if an individual performs a leadership role, which may be inherent in a particular part of the musical texture, this may affect the synchronization by driving a (usually small) phase difference between individual parts (see Varni et al., 2010). This factor is represented in the upper part of Figure 14, which illustrates processes taking place over longer time spans than SMS: it focuses on social and cultural aspects of IME, that tend to be left out of existing entrainment models.
Level 1 focuses on shared representations of structure. Internal representations of short-term (e.g., metrical) structure guide top-down perception (Box C); such representations are learned in the context of social interactions and culturally shared. Longer-term temporal structures are also learned and represented (E). This may include long metrical cycles (such as many Indian talas), or groups of short metrical cycles (such as 4- or 8-cycle patterns), which extend the patterns that can be inferred in a bottom-up process. If the music contains points of change (F), for example of texture, meter, or tempo, these must be coordinated between the group; this process may include socially agreed cues or reference to an external representation such as a score, or may be influenced by other factors such as audience response.
"Social coordination" (Level 2) represents ways in which the coordination between individuals is reflected in a performance. For example, a regular meter or groove may be accompanied by continuous coordinated movement such as swaying or foot-tapping (G). Points of change may be accompanied by greater mutual attention (H) and an increase in coordinated movement, as shown in the section Interpersonal Coordination in Music Ensembles: Continuous Data From Ancillary Movements, and may also be signaled by single cueing gestures.
Level 3, "Social role and hierarchy" represents ways in which the distinctions of role or the hierarchy between individuals may be reflected in IME. For example, (I) if one musician plays ahead of the others to make their part stand out, this results in a mean phase difference between the parts. An individual may also take on the role of deciding when a transition should be effected and/or how (J). All of these factors may be regarded as cultural to the extent that they are shared between a specific group of people, however defined; they are social to the extent that they are activated in the course of interaction between individuals, especially if they are shaped by or contributing to social distinctions or social affiliations. Areas represented in this part of the model also explicitly point up to higher-level social and ritual effects of IME, drawing on Collins' Interaction Ritual Chains model. Areas represented in this part of the diagram are as follows:
Gross body movements and visual information become more salient at longer time spans (to the right), while acoustic information offers greater precision in note-to-note synchronization. Coordination clearly often involves, however, in addition to coordinated movement, the exchange of symbolic information (auditory and visual cues, i.e., aspects of the physical signals with culturally agreed meanings). We have hypothesized that coordinated body movement is linked to increased mutual visual attention, which can occur both deliberately and without any conscious intention. The tendency to focus more attention on co-performers at points of transition seems to be common across cultures, although since the nature of musical structures and the transitions they involve differ greatly, the frequency and dynamics of these moments may still differ cross-culturally. We also noted, however, many contrasts between the expression of this tendency between genres. This part of the model also tentatively links the social dimensions of IME, via attention, to the "ritual outcomes" suggested by Collins' Interaction Ritual Chains model, which also involves the mediation of affective responses. More work is required to flesh out the interconnections between these phenomena, however.
IME and Culturally Shared Knowledge
These discussions suggest that culturally shared knowledge, learned through exposure to and training in specific kinds of music, may be influential in IME at several levels:
In modeling the relationship between acoustic information and metrical structure (e.g., understanding that a bass drum sound will emphasize beat 1 in much Western popular music).
In modeling specific temporal structures (e.g., if a pattern of one longer and two shorter beats is to be recognized, an internal representation of this pattern, or at least a general representation of non-isochronous beat durations, is necessary).
In extending metrical structures to create patterns over longer time spans.
In the progression of performances, including choices that may be made, who may make them and how they may be signaled.
In the management of transitions, including how changes of meter, tempo, or texture are affected.
In understanding the relationship of internal musical processes to the wider context (e.g., that certain kinds of music should inspire listeners to dance, to cry, or to sit silently, and that there are appropriate musical responses to these eventualities).
It is not possible at this point to specify exactly how many or which mechanisms are involved in IME. Specifying how and where this knowledge is encoded is also beyond the scope of this paper. Nonetheless it is clear that all of this musical knowledge cannot be reduced to a single form of learning or representation: these mechanisms cover a wide range of timescales, and they differ in the extent to which the individual learns them explicitly or implicitly, or whether one is conscious that they are being affirmed or contradicted. Picking up the beat in a piece of music can be so fast and instinctive that one does not realize that a specific piece of knowledge, a representation acquired through learning, is being deployed; on the other hand, if a musician becomes irritated that a co-performer is trying to lead a transition that she considers inappropriate to the style or occasion, that musician is much more likely to be aware that expert knowledge is being deployed and that she has a choice as to how to respond to the violation of expectations.
The last item on our list involves knowledge of the relationships between the performance and the wider context that affords it meaning. In discussing this we return to Collins' interaction ritual chains theory to broaden the discussion of the sociocultural significance of IME (Figure 1). Collins' "ritual ingredients" include group assembly (the co-presence of performers that allows them to mutually entrain); barriers to outsiders (which may be related to the cultural specificity of knowledge, or to a refusal to entrain with outgroups as in Lucas et al. 2011); and a mutual focus of attention (the activities of making music, associated activities such as dance and other ritual actions) which is linked to shared mood (entrainment has been linked to affective entrainment, see section Prosocial Behavior & Affect). According to Collins these elements help to generate Durkheim's collective effervescence, an overflowing of positive affect that motivates the repetition of ritual and generates, amongst other things, group solidarity.
Some aspects of Collins' model help in understanding IME: for example, the longitudinal perspective, whether considered over evolutionary or developmental time, as patterns of entrainment are repeated. Collins suggests a fundamental role for affect in IME's affordance of social effects: this is an idea that has been considered in psychology too and deserves to be explored further, as does Launay et al.'s (2016) observation of the link between IME and the release of specific neurohormones. There nonetheless remain aspects that need to be clarified if affect is to be properly integrated into our musical model. In Collins' diagram, the different "ingredients" are combined to generate collective effervescence, but how do the different elements function? Is mutual attention between participants more or less important than joint attention to an agreed goal? How important is the recognition of an out-group? How does entrainment generate emotion or affect, and how does Collins' feedback loop in which entrainment reinforces a "transient emotional stimulus" function? Some of the implications of Collins' model remain to be tested.
Do patterns of IME reflect patterns of social organization? The "ingredients" combine to generate the outcomes, from group solidarity to symbols of social relationship and standards of morality, but Collins' model does not offer a specific mechanism by which particular ways in which groups assemble and share attention lead to particular kinds of solidarity or standards of morality. Partly this is down to a simple omission of a higher-level feedback loop: groups assemble and interact having already established some form of group solidarity and identity (for example, attending a ritual of a specific religious group or a musical event featuring a known artist)—consistent with Collins's perspective but omitted from the diagram—so any such relationship would have to emerge through the operation of this feedback loop over an extended time period. To what extent the specifics of his "ritual outcomes" really emerge from the entrainment process, and how significant this is in relation to the many other forces influencing social institutions and practices, is impossible to quantify. The question of leadership, buried in Collins' "group assembly" category but addressed in the Goffmanian aspect of his model, is instructive here. Leadership is often an important aspect of group interaction that, as we have seen, influences IME. Yet leadership is itself complex. Even clearly defined "leaders" can be contested: a drummer may resist the instruction to speed up in a way he objects to, for example. In this way, we would expect IME not simply to embody a notional group hierarchy, but to reflect micro-social issues around leadership and its contestation. In this way, the dynamics of a musical ensemble need not passively reflect a given social structure but may embody also the tensions inherent in that structure.
Another way that the processes embodied in our model may impact socially is simply through the convergence they expect of their participants and listeners. A metrical structure, for instance, allows musicians to coordinate and also provides a temporal structure to which listeners may entrain (and perhaps move). The shared expectation that a dance tune will be repeated a certain number of times is useful, even essential, in coordinating some kinds of social dance: the musical structure built, we suggest, on top of a neurophysiological mechanism, this facilitates a broader form of joint action (see review section Background and Operational Definitions) and therefore has a social utility. As Dueck (2013) points out, however, music's metrical structure recruits hearers to interact in particular ways; examples of music that appear to defy expectations of regular metrical structure may sometimes be viewed as an embodiment of resistance. Who is in charge, then, is a broader issue than "which individual is the leader?" but implies a wider issue of how groups of people coordinate their actions in pursuit of a shared goal, who controls that process and how this control may be resisted.
We have seen an increasing body of literature addressing the group-bonding and prosocial behavior benefits of IME (see review sections Background and Operational Definitions and Social and Cultural Dimensions of Musical Entrainment). We suggest here that these effects may be just one set of symptoms of a much bigger issue around social temporal coordination: the mutual entrainment evident in group music-making is surely felt to be felicitous in many, perhaps most of its manifestations, and its effects on people's perceptions of each other can be measured experimentally. And yet, it is equally true that many musical performances involve a delicate balance between group bonding and individual expression, as individuals find ways to bind together in pursuit of shared goals while asserting their own agency within the group (Keller, Novembre, & Loehr 2016). The kind of group ritual experiences described by Durkheim as "collective effervescence" may involve a temporary loss of this self-consciousness and awareness of social distinction (i.e., communitas), but this is far from being the way that all music is experienced. It may also be, as Mogan et al. (2017) suggest, that this "effervescent" mechanism becomes more salient when large group sizes are involved. This, in turn, would suggest that more attention be given to the sort of large group interactions that take place both in large ensembles (orchestras, choirs), but also between audience members.
Prospects for Research in IME
Different aspects of the IME model presented here highlight the need for further research into IME at a number of different levels. The following suggestions all refer back to the proposals in this paper, and are not intended to be exhaustive.
Neural. While we have not sought to advance current models of neural entrainment, our synchronization analysis suggests possible future research, including on the effect of different aspects of the auditory signal (e.g., envelope shape) on neural resonance or error-correction, and interaction between envelope shape and event density.
Learning. How are temporal hierarchies and patterns that moderate IME learned? Via statistical learning or induced by multiple levels of periodicity? Can we follow the learning process and track its effects on synchronization dynamics? Can large-scale processes and structures be designed for experimental processes as a way of testing learning? What kinds of patterns are easy/difficult for different populations to learn? Is there a critical period (e.g., in early childhood) during which it is easiest to learn metrical/rhythmic patterns?
Autonomic functions. What is the impact of IME on functions including respiratory and cardiac rhythms?
Perceptual factors. How are different aspects of IME perceived by listeners? Do cultural differences impact the ability to discriminate different aspects of IME, and are differences in preferences for different patterns of IME related to cultural difference and shared knowledge? Are these distinctions linked to aesthetic appreciation (via affect? via vestibular activity?)
Sociomusical dynamics, including the exercise of leadership, differentiation, definition of out-groups, etc. Can these processes be better understood by bringing together observation, feedback from performers, and empirical analysis of performance?
Affective. What is the significance of affect in motivating IME and its social effects, and the perceptual and physiological correlates of IME-related affect? To what extent is the sharing of positive affect a function of group size?
Individual differences. How do less-skilled or less-experienced individuals perform, and what are the effect of personality traits on IME processes?
Leadership. How does this relate to (a) perceptions of which part is most important or prominent, (b) perceptions of which individual has the most authority?
Information and coupling. Can the role of different modalities be better understood through experimental intervention in musical performance, for example by restricting mutual information (e.g., poor visibility, poor audibility)?
Coordination constraints, including movement constraints (body size, instrument mobility, etc.). What effect do coordination errors, as opposed to synchronization errors, have on synchronization, or on musical experience?
Interaction between SMS and coordination mechanisms. To what extent can each mechanism impact the other?
This amounts to a considerable variety of research approaches, involving different data types and different analytical approaches. In many of these areas, moreover, what is required is the coordination of input from different disciplinary positions: topics such as explicit representation of temporal structures and performance processes, or the rich topic of leadership, require ethnographic and observational methods as well as empirical analysis of timing or physiological and brain imaging approaches. IME research cannot reach its potential if people's motivations, values and knowledge are not considered alongside the functioning of their neuron populations, or if musical knowledge, however learned and however articulated (or not) is treated as a minor detail.
We have explored some key elements of current understanding of IME, including models of different aspects of this rich and multi-layered phenomenon from the neurological to the sociological, from Neural resonance theory, ADAM, and rich BPS through to Interaction ritual chains. We have highlighted the need to include representations of diverse culturally shared knowledge alongside other, less culturally mediated neural processes; for consideration of different timescales, their different modalities and mechanisms and the relationships between them, and advocated cross-cultural comparative analysis as an essential part of the process of developing such a conceptual model. We therefore drew a distinction between synchronization and coordination and their different functions and timescales, and presented examples of comparative analysis drawing on a diverse and richly annotated set of corpora from India, Mali, Uruguay, Cuba, Tunisia, the UK, and Germany. These analyses also allowed us to demonstrate some of the contrasts between analysis of discrete and continuous data, and between audio and video data. Our synchronization analysis (section Interpersonal Synchronization in Music Ensembles: Onset-based Comparative Analysis) highlighted acoustic factors which impact on IME, as well as the importance of culturally shared knowledge in establishing a framework within which synchronization can be conceptualized, performed, and measured. Our coordination analysis (section Interpersonal Coordination in Music Ensembles: Continuous Data From Ancillary Movements) pointed to the fact that, for all their extraordinary diversity, very different genres seem to show a tendency for movements to become more coordinated at structural boundaries in the music, albeit to varying degrees that appear to relate to the style, pairing, and performer/instrument implicated.
Building on these analytical findings and the earlier theoretical discussion, in this final section we have presented a new model of IME. This model builds explicitly on several earlier models, while integrating a greater role for culturally shared knowledge and learning. Aspects of the latter, which can give rise to cultural variability, are highlighted at the same time as common neurophysiological mechanisms are acknowledged. The role of affective entrainment in potentially mediating the social effects of IME is included, tentatively placing this factor with the social aspects of IM. This perspective is expanded with reference to Collins' Interaction ritual chains theory, which alongside the importance of affect also builds in an appreciation of the longitudinal aspect of IME, encompassing not just repetition and learning but also the affective motivation for that repetition. Finally, we have outlined a handful of areas that the development of this model suggests as important areas for future research. Some of these strands of research are already in progress. Some are not so well developed, especially those concerning longer timescales, the integration of cognitive and social perspectives, or the role of knowledge representations in entrainment. The theoretical discussion and empirical results presented in this paper are intended to address the disjunction between different perspectives on IME, and to contribute to better understanding of the relationships between neurophysiological processes underpinning entrainment, its psychological importance for the individual, and its sociological significance, as well as to enhance understanding the diverse ways in which IME manifests in different musical cultures.
This work was supported by the Arts and Humanities Research Council [grant number AH/N00308X/1].
The following individuals kindly shared their data (audiovisual files, annotations, and in some cases extracted onset data) and responded to queries about its interpretation. This paper would not have been possible without their contribution: Richard Jankowsky (Tunisian stambeli), Nikki Moran (Improvising duos), Rainer Polak and Nori Jacoby (Malian jembe), Adrian Poole (Cuban son and salsa), Martín Rocamora and Luis Jure (Uruguayan candombe).
Thanks also to Simone Tarsitani for his work preparing and editing media.
The following abbreviations are used in this article: ADAM (ADaptation and Anticipation Model), BPS (Beat Perception and Synchronization), CRQA (Cross-Recurrence Quantification Analysis), CWT (Cross-Wavelet Transform), DAT (Dynamic Attending Theory), ES (Event Synchronization), IEMP (Interpersonal Entrainment in Music Performance, the title of the research project enabling this research), IME (Interpersonal Musical Entrainment), IOI (Interonset Interval); OF (Optical Flow), ROI (Region of Interest); SET (Scalar Expectancy Theory), SMS (Sensorimotor Synchronization), and WT (Wavelet Transform). The following abbreviations refer to these individual corpora analyzed in the section Measuring Entrainment in Musical Ensembles: NIR (North Indian Raga), UC (Uruguayan Candombe), MJ (Malian Jembe), CSS (Cuban Son and Salsa), TS (Tunisian Stambeli), ESQ (European String Quartet).
These include evidence of quite reliable and flexible entrainment in a sea lion (Cook, Rouse, Wilson, & Reichmuth, 2013; Rouse et al., 2016), entrainment to complex musical stimuli in sulphur-crested cockatoos (Patel, Iversen, Bregman, & Schulz, 2009) and African grey parrots (Schachner, Brady, Pepperberg, & Hauser, 2009), synchronization to simple isochronous stimuli in budgerigars (Hasegawa, Okanoya, Hasegawa, & Seki, 2011), a bonobo (Large & Gray, 2015), a chimpanzee (Hattori, Tomonaga, & Matsuzawa, 2013), and rhesus monkeys (Zarco, Merchant, Prado, & Mendez, 2009), spontaneous synchronization of button-pressing movements in pairs of macaques (Nagasaka, Chao, Hasegawa, Notoya, & Fujii, 2013), and preliminary evidence for entrainment in horses (Bregman, Iversen, Lichman, Reinhart, & Patel, 2013).
This analysis, and the collection of diverse corpora, was made possible by the "Interpersonal entrainment in music performance" project (IEMP).
In reality, no data recorded using the methods described here are truly continuous and depend on the sampling rate of the data collection method. In addition, continuous signals may sometimes be converted to discrete data types by isolating particular events within the signal (e.g., identifying peaks of velocity changes of particular movement types from a continuous movement trajectory).
In some fields XWT is preferred as an abbreviation for Cross-Wavelet Transform (and CWT is used for Continuous Wavelet Transform). Our usage is consistent with that of Issartel, Bardainne, Gaillot, and Marin's (2015) study of human interaction.
The analysis uses three pieces from the IEMP North Indian Raga corpus (Clayton et al., 2018): NIR_ABh_Puriya, NIR_PrB_Jhinjhoti and NIR_DBh_Malhar. A different set of performances is used for the coordination analysis in the next section.
Our analysis focuses on physical onsets, based on acoustic rise times, rather than perceptual onsets (p-centers), which are also affected by duration, pitch, and timbre. This is a pragmatic choice in as much as the analysis includes several instruments for which new research would be required in order to reliably estimate p-centers. Whereas for most drum sounds analyzed here there is likely to be no significant difference between physical and perceptual onset, for others (e.g., bowed instruments) the difference is likely to be more significant, and this factor should be taken into account in future studies of synchronization of sounds with more gradual acoustic rise times.
One difference between Rasch's calculations (1988) and ours is the temporal resolution of the onset detection: for Rasch this was limited to a 5 ms bin size, a limitation that does not apply to our onset detection. This may have an effect on the asynchronization calculations.
All pairings were included for which at least 50 data points were available, with the exception of the cowbell–cajon pair, since these instruments are played by the same musician.
Labelled MJ_Maraka_1, MJ_Maraka_2 and MJ_Maraka_3 in (Polak et al., 2018).
The analysis uses six pieces from the NIR corpus (Clayton et al., 2018). Three feature a vocalist: NIR_VK_Multani, NIR_VS_Bhoop and NIR_SCh_Malhar (khyal in vilambit ektal in each case). Three feature an instrumental soloist: NIR_NGh_Tabla (vilambit teental), NIR_PrB_Jhinjhoti (rupak tal) and NIR_ABh_Puriya (gat in vilambit teental).
This was extended to five seconds for the Western Improvisation corpus, as this was an experiment in which Motion Capture data were also collected and performers were instructed to assume a "T-pose" for calibration purposes at the start and end of each video clip, which was not a part of the actual performance.
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The perceptual onset of musical tones
. < | for judging the temporal order of two sounds. These are about 20 ms for steady-state tones (Hirsh, 1959) and 30 ms for musical (piano) tones (Goebl & Parncutt, 2001; see also Butterfield, 2010). The latter value is close to the measured SD of asynchronies that have been observed in Western classical ensemble performance, where onset time differences often vary with the range of around 0–30 ms and rarely exceed 50 ms (Keller & Appel, 2010; Keller, Knoblich, & Repp, 2007; Rasch, 1988; Shaffer, 1984). This correspondence suggests that musicians' abilities to synchronize with one another thus match listeners' abilities to perceive the temporal relations between different instrumental parts in music.
Studies on regularity in production of temporal sequences and perceptual thresholds for detecting variability in performance tempo provide indications of the size that ensemble asynchronies would need to be in order to be detected by a listener. The limits of temporal regularity in production are often investigated in simple laboratory tasks requiring self-paced finger tapping. When the goal is to produce a regular sequence at tempi within the comfortable range of 100-120 BPM (500–600 ms IOIs), the standard deviation of intertap intervals is typically around 15–30 ms, that is, ≈3–6% of the interbeat interval (Madison & Merker, 2002, 2004). The proportional degree of variability in production remains constant across a range of rates relevant to the experience of beat and metric beat subdivisions (from ∼150 ms to ∼1500 ms), leading to an absolute increase in variability with decreasing rate (Vorberg & Wing, 1996; Wing & Kristofferson, 1973a, 1973b). Variability in production corresponds with perceptual thresholds for detecting temporal irregularity, which are around 3% or lower for musicians and 4% or higher for nonmusicians (Friberg & Sundberg, 1995; Madison & Merker, 2002, 2004). Listeners therefore do not consciously detect irregularities that are smaller than those that characterize production, suggesting a close match between limits in perception and action. The convergence of perceptual and production limits on values around 3% of the IOI or greater suggests that smaller asynchronies are uninformative regarding ensemble performers' intentions and may go unnoticed.
In addition, perceptual studies of expressive performance have shown that the detection of timing deviations depends on their position within the musical structure. Detection is poorer at the end of melodic-rhythmic groups and phrases than at the beginning or middle of such structural units (Repp, 1999). This link between musical structure and temporal acuity suggests that the perception of asynchrony may also vary as a function of position in musical structure. Specifically, acuity in asynchrony detection may decrease at points approaching significant melodic-rhythmic and phrase boundaries, where in Western art music there is typically a slowing down of local tempo. In accordance with Weber's psychophysical law (which states that perceptual sensitivity to a change in some property of a stimulus is inversely proportional to the physical dimensions of that property of the initial stimulus), asynchronies may need to occupy a greater absolute amount of the interbeat interval at slow than at fast rates in order to be noticeable.
Visual Information and Cross-modal Effects in IME
Visual information about co-performers' body movements can also facilitate interpersonal coordination. In general, auditory information is considered to be superior for communicating fine temporal structure (e.g., expressive microtiming) and discrete onset timing, while visual information is optimally suited for communicating larger-scale spatial-temporal structures and the continuous dynamics of events as they unfold (MacRitchie, Varlet, & Keller, 2017). Although the visual system has lower temporal resolution than audition (Holcombe, 2009), it excels at processing spatiotemporal information, as evidenced by the high precision with which moving stimuli can be intercepted (Bootsma & van Wieringen, 1990). This is especially the case for biological motion (Aymoz & Viviani, 2004). In music, continuous spatiotemporal trajectories allow the future course of performers' movements to be predicted (Wöllner & Canal-Bruland, 2010), which assists ensemble co-performers to coordinate their sounds (Glowinski et al., 2013; Kawase, 2014; King & Ginsborg, 2011) and may also be used as a cue by audience members in evaluating performance quality.
Musicians make use of two broad categories of movement when performing. Sound-producing movements (e.g., key presses, bow strokes) occur over the same timescales as auditory onsets. Sound-facilitating, or ancillary, movements (e.g., head nods, body sway) are movements that do not play a direct role in the production of sound and typically occur over longer timescales than sound-producing movements. Ancillary movements may thus play a role in coordinating both temporal and expressive intentions of performers over slower timescales (e.g., sections or phrases rather than note-to-note onsets; Dahl & Friberg, 2007; Davidson, 1993; Ginsborg & King, 2009; Teixeira, Loureiro, Wanderley, & Yehia, 2015; Vines, Krumhansl, Wanderley, & Levitin, 2006; Wanderley, Vines, Middleton, McKay, & Hatch, 2005; Williamon & Davidson, 2002). In addition, Bishop and Goebl (2017) have found that kinematic features of communicative head gestures in piano duos are predictive of note-level synchronization, suggesting a link between ancillary movement and accuracy of sound-producing movements.
In terms of listeners' usage of visual cues for assessing aspects of performance, Moran, Hadley, Bader, and Keller (2015) have demonstrated different sensitivities in relation to musical style. Specifically, listeners were able to discriminate between real and fake pairings of improvising duos on the basis of visual displays of performers' body movements in free improvisation, but did not perform above chance for standard jazz performances. The apparent advantage for free improvisations may have been due to these performances being more "conversation-like" than standard jazz in terms of interpersonal coordination dynamics. In addition, there was a positive correlation between auditory rhythm perception skills and the ability to discriminate real from fake visual cues in the standard jazz condition (but not for free improvisation), indicating some relationship between auditory temporal acuity and visual temporal acuity.
In an investigation of the cross-modal aspects of ensemble synchronization, Arrighi, Alais, and Burr (2006) asked participants to judge the synchrony of video and audio streams of displays of conga drumming. The results indicated that the auditory stream needed to be delayed in order for onsets conveyed by sight and sound to be perceived as synchronous, presumably due to the relatively sluggish processing of visual information. The audio-visual temporal integration window—i.e., the range where synchrony perception tolerates auditory delays—decreased with increasing tempo and was around 200 ms for 1 Hz (60 BPM) drumming movements and 100 ms for 4 Hz (240 BPM) movements. This may be an instance of Weber's law holding cross-modally.
Aspects of audiovisual perception also vary in relation to musical experience and task type. Petrini and colleagues (Petrini, Russell, & Pollick, 2009) found an expertise effect when comparing drummers to musical novices in the detection of asynchronies between visual and auditory components of audiovisual displays of solo drum strikes, in particular in regard to the temporal integration window (the range of values where asynchrony goes unnoticed). Building on this work, Love, Petrini, Cheng, and Pollick (2013) investigated the relationship between synchrony judgments and temporal order judgments in audiovisual stimuli. No correlation was found across the two tasks, and the authors thus concluded that synchrony and temporal order judgments are underpinned by different perceptual mechanisms.
IME and Listener Preferences
It is not clear to what extent differences in ensemble synchrony across different musical traditions may be aesthetically motivated, but evidence does exist of listener preferences. Such preferences might arise because the degree of synchrony and coordination exhibited within the ensemble influences the strength of coupling experienced by an observer or listener, thereby shaping his or her affective responses to the music (Labbé & Grandjean, 2014; Trost, Labbé, & Grandjean, 2017). Potential mediating factors in this process may include the observer's musical experience (Novembre & Keller, 2014) and empathy (i.e., ability to understand others' thoughts and feelings; Babiloni et al., 2012).
Preferences for particular patterns of interpersonal coordination are not specific to interaction in musical contexts. For instance, Miles, Nind, and Macrae (2009) found that observers' ratings of rapport between pairs of individuals walking together were highest for in-phase (relative phase = 0 degrees) and anti-phase (180 degrees) coordination. When considered in light of a large body of research showing that in-phase and anti-phase relations are the most stable amongst coordination modes (Schmidt & Richardson, 2008), these findings suggest that observers prefer coordination modes that are relatively comfortable to produce.
In a study of musical entrainment, Labbé, Glowinski, and Grandjean (2017) examined the effects of ensemble and solo performance of Schubert's String Quartet No. 14 in D minor ("Death and the Maiden") on the affective experiences of listeners. Ratings of motor entrainment (e.g., "to what extent did you feel like moving?") and visceral entrainment (e.g., "to what extent did you feel your own bodily rhythms change?") were higher for ensemble than solo performances. The motor entrainment effect may be due to greater event density making one want to move (see also Senn, Kilchenmann, Bechtold, & Hoesl, 2018), while the visceral effect may be due to the urge to move increasing arousal. In addition, wanting to move (motor entrainment) was predictive of positive emotions such as power and wonder, while having a sense of one's own bodily rhythms changing (visceral entrainment) was predictive of both positive and negative emotions.
The concept of motor entrainment is closely aligned with the notion of musical "groove"—a quality of music that induces the pleasurable urge to move in listeners. In a study of experiences related to groove, Hurley, Martens, and Janata (2014) investigated spontaneous sensorimotor coupling with multipart music (rock, jazz, funk, bluegrass, hip-hop, reggae, new age, and electronic dance music) comprising 1–4 instruments. Continuous ratings of groove (i.e., "the aspect of music that compels the body to move") while the music was playing were higher for music with multiple instruments than for solo music, and, in the multipart textures, groove ratings increased with each staggered instrument entry. Post-excerpt ratings also indicated a higher urge to move, enjoyment, and wanting the music to continue when there were multiple instruments and their entries were staggered. Thus, motor entrainment related to groove was positively associated with listener engagement and preference.
Preferences can be influenced by the overall degree of entrainment (e.g., as reflected in the average magnitude of asynchronies), as well as by the dynamics of mutual influence within an ensemble. D'Ausilio et al. (2012) compared aesthetic preferences of listeners against objective measures of leader-follower relations between a conductor and violinists in orchestral performances. Results revealed differences in preferences for patterns of conductor and co-performer influence across musical excerpts. For one excerpt, perceived quality was high when the conductor strongly influenced members of the violin section but mutual influence between violinists was weak, while, for another excerpt, perceived quality was high when the influence of the conductor was weak but mutual influence between violinists was strong. These findings may reflect differences in conductor experience and leadership style. A strong leader effectively guides performers but, when faced with a weaker leader, co-performers are forced to rely on one another (see later discussion of leadership in the section Social Differentiation: Role, Leadership, and Out-groups).
A further question concerns the relationship between sensitivity to, and preferences for, different degrees of IME. In a relevant study, Engel and colleagues (Engel, Hoefle, Monteiro, Bramati, et al., 2014; Engel, Hoefle, Monteiro, Moll, & Keller, 2014) investigated the effects of synchrony between percussion instruments on experienced pleasure and the desire to move or dance while listening to Brazilian samba music. Results suggested that listeners were sensitive to each step in the synchrony manipulation that was introduced by the experimenters, although there were considerable individual differences in judgments that related to rhythm and time perception skills. Furthermore, stimuli that had higher synchrony between instruments were perceived as more pleasurable and evoked a greater desire to move or dance. The general correspondence between judgments of synchrony, pleasure, and the desire to move suggest that there is a close relationship between direct measures probing perceived entrainment and indirect measures probing the listener's experience of their own entrainment to music.
Models of Synchronization and Beat Perception
One of the aims of this paper is to develop a model of IME. Of the various aspects of the phenomenon touched on so far, that which has been subject to the most extensive modeling is sensorimotor synchronization. These models generally aim to explain the mechanisms underlying SMS in terms of either: 1) linear, event-based, and information processing accounts, or 2) nonlinear, emergent timing approaches based on oscillator models and dynamical systems theory. The following paragraphs describe some key assumptions and examples of each of these two classes of models.
Event-based, information processing models are often used to explain the timing mechanisms underlying series of discrete events, such as a sequence of finger taps or acoustical onsets produced by a musical instrument. Such approaches have evolved from interval timing models, which have a long historical precedence in time perception research. Scalar expectancy theory (SET; Gibbon, 1977; Gibbon & Church, 1990; see also Treisman, 1963) is a prominent model that has been used to explain a host of time-related animal behaviors, as well as many aspects of human performance on duration estimation and production tasks (Buhusi & Meck, 2005; Malapani & Fairhurst, 2002). SET implicates a pacemaker-accumulator mechanism ("internal clock") that generates and stores a series of pulses over a certain time period for comparison to a reference memory in making time-related decisions. The role of attention has been further specified in subsequent adaptations of internal clock models (e.g., Zakay & Block, 1996), as attention allocation has been shown to have a substantial influence on the accuracy of timing tasks (Brown, 1997). In addition, an internal clock model that specifically aims to explain the processing of auditory sequences has been proposed by Povel (1981) and Povel and Essens (1985), which takes into account the hierarchical, beat-based organization of musical rhythms.
The work of Wing and Kristofferson (1973a) integrates concepts from SET within an event-based model that aims to explain discrete, repetitive motor responses, such as a series of finger taps. Specifically, the Wing and Kristofferson model also assumes an internal clock/timekeeper that is affected by attention, but posits two sources of variability in the produced motor responses—central timekeeper variance and peripheral motor variance. These two sources of variability are presumed to be independent of one another, such that separate estimates of timekeeper and motor variability can be attained for a produced motor sequence. Subsequent extensions of the Wing and Kristofferson model to SMS implicate a linear autoregressive phase error correction process, which essentially posits that the duration of the current motor response (e.g., tap) is directly influenced by the asynchrony of the previous response (or two) (Pressing, 1998; Vorberg & Schulze, 2002; Vorberg & Wing, 1996). Jacoby and colleagues (Jacoby, Keller, Repp, Ahissar, & Tishby, 2015; Jacoby, Tishby, Repp, Ahissar, & Keller, 2015) have demonstrated that adding an additional assumption (based on existing behavioral data) that the motor variance is less than the timekeeper variance can substantially reduce parameter estimation error and bias.
Several studies have also revealed the need for a distinction between phase error correction, which is a generally automatic process, and period error correction, which is under conscious control and requires attention (Mates, 1994a, 1994b; Repp & Keller, 2004; Schulze et al., 2005). When synchronizing with an isochronous sequence, only phase correction is needed, whereas synchronization to a stimulus that changes tempo (i.e., most scenarios involving music making between humans) also requires period correction of the internal timekeeper (Repp & Keller, 2004). Complicating this picture, the existence of an intermittent phase resetting process alongside continuous phase correction has also been suggested (Repp, 2001; Keller & Repp, 2005; Rimmele, Morillon, Poeppel, & Arnal, 2018). Motivated by behavioral findings that humans predict on-going tempo changes (such as expressive timing variations), error correction processes that facilitate reactive temporal adaptation have been supplemented by anticipatory processes in the ADaptation and Anticipation Model (ADAM) of sensorimotor synchronization proposed by van der Steen and Keller (2013; see also van der Steen et al., 2015). More broadly, one of the precursors of ADAM, described in Phillips-Silver & Keller (2012), draws extensively on theoretical approaches to joint action (Knoblich et al., 2011; Sebanz et al., 2006). In this view the mechanisms by which ensemble members mutually entrain include not only adaptive timing but also prioritized integrative attending (i.e., attending to one's own actions, those of others, and the integrated sound at the same time) and anticipatory imagery, which helps to predict the future sounds of co-performers (Keller, 2008; Keller & Appel, 2010). Related research outside the music domain suggests that joint action more generally is supported by a mixture of high-level cognitive processes and basic sensorimotor mechanisms that can be strategically modulated through behavioral modifications (e.g., increased temporal regularity and spatial extent of movements) that smoothen interpersonal coordination by making actions clearly perceivable and predictable (Vesper et al., 2017; Vesper, Butterfill, Knoblich, & Sebanz, 2010).
A complementary body of work considers entrainment in terms of nonlinear oscillatory processes and conceptualizes entrainment as a continuous process, rather than a sequence of discrete events. Such models are based on dynamical systems theory, as developed within mathematics and physics for modeling complex and nonlinear systems (for an overview see Guckenheimer & Holmes, 1983, or Hirsch, Smale, & Devaney, 2004), which has also been highly influential within such diverse fields as biology, economics, and psychology (e.g., May, 1976; Vallacher & Nowak, 1994). One prominent approach to modeling musical entrainment within this tradition is dynamic attending theory (DAT), as proposed and refined by Jones and colleagues (Jones, 1976, 2019; Jones & Boltz, 1989; Large & Jones, 1999). DAT implicates a set of internal (neural), self-sustaining oscillations or "attending rhythms" that can entrain to external events and direct attentional energy to expected points in time. The entrainment of these internal oscillations to a periodic auditory sequence facilitates the processing of sounds presented in phase with the sequence (Jones, Moynihan, MacKenzie, & Puente, 2002, though see also Bauer, Jaeger, Thorne, Bendixen, & Debener, 2015, for some conflicting evidence). Subsequent models have specified how temporal expectations become stronger and more focused with more iterations of an auditory stimulus and have proposed systems comprising multiple, nested oscillators that track different periodicities in line with the hierarchical structure of music (Large, 2008; Large & Jones, 1999; Large & Kolen, 1994; Large & Palmer, 2002; McAuley & Kidd, 1995). van Noorden and Moelants (1999) have also proposed a model that implicates an oscillator with a natural resonance of approximately 2 Hz, to account for human preferences for musical tempo rates around 2 Hz and the limited frequency range over which tempo perception/production can occur. Finally, neural resonance theory builds on initial ideas from DAT and posits spontaneous oscillations of neural populations at an endogenous periodicity in the absence of a perceived stimulus, which can become coupled (entrained) to an external stimulus over a broad range of phase relationships, while higher order resonances in the oscillators can give rise to the perception of metrical accents (Large, 2008; Large & Snyder, 2009). Further development of neural resonance theory has demonstrated that oscillatory interactions between auditory and motor brain networks can explain the perception of a musical pulse even in the absence of energy in the acoustic signal (e.g., as is often the case with syncopated rhythms, where acoustical onsets do not coincide with the metrical pulse; Large, Herrera, & Velasco, 2015; Velasco & Large, 2011).
Both linear and nonlinear models have proved successful in modeling aspects of SMS, in the case of the former especially so when an anticipatory module capable of tracking tempo changes is added (as in ADAM). Iversen and Balasubramaniam (2016) argue that a full account of SMS may require both neural resonance and interval timing mechanisms: "the existence range of SMS closely corresponds to the temporal interval range over which both systems are active in interval timing" (2016, p.177). Their model of "rich BPS" (Beat Perception and Synchronization) offers the advantage of accounting for the rich and hierarchical temporal patterns that are operative in musical production and perception. An explicit role not only for neural resonance but also for memory and internal representation, and connections in both directions between sensory and motor processing, allows us to consider the ways in which synchronization may vary between musical genres and cultures (see Section 4). Along similar lines, a number of studies theorise the role of top-down processes, or "Active Sensing," within a nonlinear model of temporal perception (Morillon & Schroeder, 2015; Patel & Iversen, 2014; Schroeder, Wilson, Radman, Scharfman, Lakatos, 2010). Rimmele et al. (2018), for instance, recast DAT and neural resonance theory to account for the influence of top-down factors on entrainment: in this context they suggest that "the brain can arguably exploit any available source of top-down priors" (p. 876). These priors may include both efferent motor signals and symbolic cues based on working or long-term memory.
Much remains to be achieved, nonetheless, in terms of accounting for synchronization to a wide variety of metrical structures, including those with stable non-isochronous patterns (Polak, London, & Jacoby, 2016), existing in specific cultural settings (Jacoby & McDermott, 2017; Patel, Iversen, & Ohgushi, 2006; Sadakata, Ohgushi, & Desain, 2004). We also suggest below that more work is needed to model long-term anticipatory processes that may involve detailed expectations regarding transitions, in terms of not only tempo but metrical pattern, texture, rhythmic patterning and other factors that rely on expert knowledge. The model presented in the Models and Predictions section of this paper is intended as a step in this direction. We will also expand our model beyond the narrow frame of synchronization mechanisms, both with reference to the joint action model and by locating the kinds of knowledge that support forms of attending and anticipatory imagery that may be specific to the genre of music being played.
Social and Cultural Dimensions of Musical Entrainment
As noted earlier, interpersonal entrainment has been associated with a variety of social factors. These range from speculation about the role of interpersonal entrainment in human evolution and the development of societies through to current psychological research on the capacity for interpersonal entrainment to stimulate prosocial behavior and entitativity or "groupiness." A long history of speculative evolutionary and social theory posits a key role in human sociability for entrained behaviors involving coordinated movement and sound production—in other words, music and dance. Some of these accounts stress the affective dimension of interpersonal entrainment, its role in allowing individuals to share emotional states and the role of affect in strengthening social bonds; hence these issues are covered together here. The following sections cover both social effects – i.e., the effects of IME on the formation and perception of social bonds and distinctions – and cultural factors – i.e., the ways in which IME may be practised differently in varying social settings and thus index cultural difference. The two terms are distinct, although related insofar as social bonds enable groups of people to establish distinctive, "cultural" practices.
Prosocial Behavior and Affect
A variety of studies have revealed that synchronized movement, both musical and otherwise, can affect attitudes and cooperative behaviors toward one's co-actors. For instance, Hove and Risen (2009) found that interpersonal synchrony in a joint finger tapping task was related to greater affiliation ratings of one's tapping partner. In a task in which participant dyads moved together in rocking chairs, Demos, Chaffin, Begosh, Daniels, and Marsh (2012) found that affiliation ratings increased when participants were more synchronized to a piece of background music, despite the fact that the music actually reduced coordination between the dyads in comparison to a silent condition. Good, Choma, and Russo (2017) demonstrated that moving in time to a musical beat with others can also influence social categorisation and cooperation across intergroup boundaries. In addition, synchronization has been found to be related to increased ratings of trust in one's partner in a paradigm in which participants were informed they were tapping with another person but actually tapped with a virtual, computer-generated sequence (Launay, Dean, & Bailes, 2013). Such prosocial effects of moving together through music also appear to be present from a young age; for instance, Kirschner and Tomasello (2010) found joint music making can increase cooperative behavior in 4-year-old children and Cirelli et al. (2014) reported increased helping behavior toward an experimenter when 14-month-old infants were bounced to music in synchrony with the experimenter in comparison to an out-of-sync bouncing condition. Reddish, Fischer, and Bulbulia (2013) found that group cooperation was highest when both synchrony and shared intentionality were combined in experimental tasks; in our terms, coordination depends on shared intentionality and thus we might hypothesize that both components of IME are necessary for some of music's social effects.
Prosocial effects of synchronized movement have also been observed in relation to dance (Reddish et al., 2013; Tarr, Launay, Cohen, & Dunbar, 2015; Vicary, Sperling, Zimmermann, Richardson, & Orgs, 2017), as well as periodic activities not directly related to music, such as rowing (Cohen et al., 2010) and even walking (Miles et al., 2009; Wiltermuth & Heath, 2009). As such, it has been posited that human ability to synchronize with one another may have served a broader evolutionary function in terms of enabling social bond formation across large groups (Launay et al., 2016), facilitated by a sense of self-other merging between co-actors and endorphin release as a result of synchronized exertive movements (Tarr, Launay, & Dunbar, 2014).
The role of neurotransmitters connects the effects of synchronized movement to "affective entrainment"—the sharing of affective states between individuals in joint music making (e.g., Phillips-Silver & Keller, 2012). Affective entrainment may then be responsible for the formation of social bonds and prosocial behaviors that can be elicited by musical joint action, and hence implicated in the emergence of larger and more complex social groups than would otherwise be possible. However, Mogan, Fischer, and Bulbulia (2017) conducted a meta-analysis of 42 such studies of the relationship between interpersonal synchrony and four dimensions of response: prosocial behavior, perceived social bonding, social cognition, and positive affect. Their analysis suggests that phenomena that are facilitated by small-group interactions—such as exact behavioral matching—may be linked to prosocial behavior, "possibly through self-other blurring and increased attention" (Mogan et al., 2017, p. 19). Positive affect, on the other hand, increases significantly with group size and may therefore depend on a distinct mechanism.
The role of entrainment in inducing affective responses to music has been discussed more generally in music psychology: for instance, Juslin (2013) includes this factor in his BRECVEMA (Brain Stem Reflex, Rhythmic Entrainment, Evaluative Conditioning, Contagion, Visual Imagery, Episodic Memory, Musical Expectancy, and Aesthetic Judgment) model of emotion in music. Trost et al. (2017) review research in this field, noting the importance of distinguishing the different levels at which entrainment occurs ("neural, perceptual, autonomic physiological, motor, and social"), concluding that apart from the neural level, "all other forms of entrainment have been described as involving a kind of affective experience" (p. 106). It is not yet clear what mechanisms link entrainment and emotional or affective experiences, however, and the experimental evidence is unclear—as Mogan et al. (2017) point out, the strongest evidence comes from ethnographic observation.
The Sociology of Music and Ritual
For Durkheim, in his classic work The elementary forms of the religious life (1912/1995), face to face interactions between groups of people, in which individuals coordinate their actions towards a common focus of attention and may experience a surge in energy and positive affect he termed "collective effervescence," was crucial to the development of social groups, belief systems, and shared symbols. These ideas can be traced in research exploring the place of bodily coordination in music performance (Clayton, Sager, & Will, 2005). Collins (2004) combines elements of Durkheim's theory with Goffman's (1959) equally influential microsociological approach in a theory he terms "Interaction ritual chains," a key element of which is rhythmic entrainment. Collins's model is encapsulated in Figure | 6,863 |
I'm about seven eighths of the way through the surprisingly long drive to Lewes when I start to wonder whether this whole visit-all-the-states thing is perhaps not a particularly sane idea. Delaware is the first on a list of East Coast states I'm hoping to<|fim_middle|>, might be blown adrift. | get to on a hurried road trip, and though I'm currently speeding down Route 1 approaching my destination, I feel as if I'm aimlessly drifting.
There is nothing I can do, though, because here I am, and I've already spent $21.25 in tolls just to get here. $6.00 of that was in Delaware alone. Delaware has always struck me as having inordinately high self-esteem in this regard. There's a lesson in this, maybe, something about convincing others of your own worth through sheer brazen confidence. If you believe people should pay $6.00 just to drive through your tiny state, then they will. If you believe you're doing something worthwhile by rambling around America as its institutions crumble, then you are.
I drive south past farms and seafood shacks until I reach the downtown of the little city of Lewes, just north of the point of land where Cape Henlopen curves up and out into the Atlantic.
Lewes describes itself (in a list of its "core values") as "a town of busy days and quiet nights." It is a dreamier, quieter, sweeter place than I'd expected, one of those towns where it seems no building is without a historic marker and every brick is a carefully carved memorial brick. Though I've never been here before and have scarcely glanced at a map, the streets are familiar to me, as they would be to anyone who loves little waterfront places that have "a special and historic relationship with the sea." (That's another "core value.") On this weekday afternoon, as I stroll the streets, sometimes the only sound is of a rope slapping against a flagpole in the wind.
But in this odd patchwork of history, the most remarkable artifact I come across is the ship docked on the canal, which is not just a ship, but a lightship, a thing I somehow did not know existed until this moment. This one, the Overfalls, is painted a cheerful red and flying an American flag. It once protected vessels sailing Delaware's shores with a foghorn, a radio beacon, and an electric lantern that shone with the power of 15,000 candles. To quote the Overfalls Foundation, because even the most mundane of writing about things nautical somehow manages to sound somewhat poetic, "It could be moored near shifting shoals where no fixed structure could be placed; stationed in deep water many miles from shore to serve as a landfall or point of departure for trans-oceanic traffic; and could be readily positioned to suit changing needs…the lightship served as a day beacon, a light platform by night, [and] a sound signal station in times of reduced visibility." It is one of seventeen lightships that remain of the 179 built between 1820 and 1952, and one of seven that are open to the public. This is the off-season, though, so nothing is open, and I can wander around the waterfront alone.
The concept of the lightship stays in my mind after I leave Lewes. I like lighthouses, as I suppose most people do, but it occurs to me that there's something cruel about a stationary beacon, winking at those in peril from the safety of the shore. A lighthouse that floats, however, is different. It is vulnerable itself. At any moment it, too | 702 |
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Diablo III: Inferno Difficulty Details
Kiven August <|fim_middle|> 2005 July 2005 June 2005 May 2005 April 2005 March 2005 February 2005 January 2005 December 2004 November 2004
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Copyright © 2021 Codamon.com | 18, 2011 Leave a Comment on Diablo III: Inferno Difficulty Details Posted in Gaming News
Oh boy, Hell just got harder, way harder to beat. Blizzard has unveiled the fourth and harder than Hell difficulty in DIablo 3 called Inferno Mode. The new mode will feature harsh, high-level difficulty gameplay and was featured at Gamescom 2011.
Blizzard Entertainment game director Jay Wilson says Diablo III's Inferno difficulty is aimed at players who have maxed out their character by reaching the level 60 player cap. Only then can they tackle Inferno difficulty, a challenge that will throw enemies at the player that are of even higher levels. Wilson says the level for every monster in Inferno will be, at minimum, level 61 making Diablo III's hardest difficulty setting an overwhelming, often uphill battle.
For reference: In Diablo II, players could level their characters up to 99, but the highest level monster was 85.
Monsters will see an increase in health, damage, damage resistances and aggression in Inferno. They'll also have access to a larger suite of powers in Inferno, making minions and boss monsters even tougher. Expect a tougher game across the board, with broader than ever challenges even for the most skilled demon hunters.
"The idea was that we wanted a difficulty mode where the entire game was viable," Wilson says. "So you don't have to pick and choose key areas [to replay]." Diablo III's Inferno difficulty, he says, will be "very difficult, very challenging," presenting a "flattened" difficulty experience that Blizzard hopes will provide a more balanced, but more challenging end game for Diablo diehards.
That "flattened" difficulty will mean, Blizzard hopes, that players revisit the entire world of Diablo III seeking bigger and bolder challenges, not just go on "Mephisto runs" or fight a specific breed of minion in search of experience points and sweet loot drops.
"We do expect there to be a certain amount of… runs to get items, but we wanted players to do it over a lot more content," Wilson said. "We're trying to make sure that there's a lot more opportunities for players to see a lot more variety." Wilson added that if player behavior does eventually lead to tightly focused runs in Diablo III, the developer may make adjustments for that by encouraging (and rewarding) players for having more diverse replays.
Inferno difficulty naturally comes with rewards beyond sightseeing, Wilson says. Some armor, weapons and items will be exclusive to Inferno (while other highly coveted items will drop more frequently at that level). Some of the game's Runestones, the socketable items that modify player skills and spells, are also found only in Inferno, offering all new abilities to those willing to run the risk of playing at the top tier difficulty—or willing to pay for the good stuff in Diablo III's auction house.
Those coveted, highest-of-high-level items, weapons and armor sets will be visually distinct from the versions available to players of lower difficulty levels (Normal, Nightmare and Hell), Wilson says. While Diablo II recycled much of that game's art assets for powerful, late game gear, Blizzard will give players brand-new art for Inferno-level loot in Diablo III. It should be patently obvious, visually, when someone is sporting elite items that were dropped during Inferno gameplay, Blizzard says.
Diablo III for PC and Mac still has no firm release date. Yes, we know. We would give anything to play it as well. =)
Author: Kiven
Kiven originally started this blog back in 2004 to document his forays into Half Life 2 and World of Warcraft. Over the years, it has grown to be one of the biggest blogs in the Philippines covering Games, Technology, Social Media and Kiven's new passion: Photography. He can also be found lurking over at Twitter/ Instagram/Pinterest as @Kiven .
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JAMMU: Speaker Legislative Assembly, Kavinder Gupta Sunday visited various areas in Gandhinagar Constituency and took stock of the developmental works.
Interacting with the people at different places including Shivali Mohalla in old Satwari Kavinder Gupta said that development programmes have been launched in the Constituency with the aim to provide better amenities to the people.
He said the construction works on various ongoing developmental projects are apace in the area but the need of the hour is to utilize <|fim_middle|> for Shivali Mohalla old Satwari and added that it will augment the power supply in the area. He also assured people that the construction work on up-gradation and improvement of road leading to Shivali area will be taken up soon. He also said that drainage system in the area will be upgraded to meet the requirements of the local populace. He also inaugurated a lane in the Shivali mohalla for construction.
The Speaker assured the people that their genuine demands will be looked into for early redressal. | 100 percent funds earmarked for the current fiscal. He asked the people to cooperate with the Government in implementation of developmental schemes and avail maximum benefits of schemes.
The Speaker announced up-gradation of power transformer from 100 kv to 250 kv | 54 |
Travellers venture across the globe to catch a glimpse of our beautiful beaches, have brunch at our trendy cafes and enjoy a relaxing day soaking up the warm sun. It comes as no surprise that our coastline is a hotspot for Airbnb<|fim_middle|> the near future. | , an online platform that enables people to rent out one room or their entire property for a few days or months on end. But a proposed law regulating short-term letting could shake things up for hosts and guests.
The Fair Trading Amendment (Short-term Rental Accommodation) Bill 2018, recently passed by the NSW lower house, gives strata management the ability to stop short-term letting in their building if 75 per cent of owners disapprove.
It also restricts hosts in the greater Sydney area from renting out their property for more than 180 days a year.
These two reforms will not affect hosts who live on their property and merely rent out rooms.
A new code of conduct will be introduced, including a 'two strikes and you're out' policy, which aims to combat noise levels and disruptions to neighbours.
If a host or guest seriously breaches the code twice in two years they will be banned for five years and placed on the exclusion registrar.
"For decades, short-term holiday letting has underpinned the prosperity of communities up and down the NSW coast, and I am proud that our policy will support local economies," NSW Minister for Innovation and Better Regulation Matt Kean told The Beast.
Minister Kean said the government consulted with key stakeholders and the broader community, with the Options Paper receiving more than 8,000 submissions.
Gabriel Sarajinsky, managing director of the short-term property management agency HomeHost, told The Beast the proposed laws would clear up "grey areas" for hosts and minimise disturbances to neighbours, but also risked taking away owners' rights.
Mr Sarajinsky said these changes are causing investors to turn their backs on the Sydney market in favour of lower property prices and fewer restrictions.
"There are a lot of great hosts who are welcoming guests from all over the world into their home and showing great Aussie hospitality," he said.
Research lecturer at UNSW's City Futures Research Centre Dr Laura Crommelin said the 180-day cap is "generous" relative to cities worldwide, but if the limit allows commercial operation to continue then it becomes a "real worry" for Sydneysiders.
"I think the segment of Airbnb activity that involves people genuinely sharing spare space in their own homes is a positive thing in many ways, so I think there's some merit to allowing this to continue under the new regulations," Dr Crommelin said.
"But for people trying to live in Sydney, particularly renters, anything that has the potential to add to the city's significant housing affordability issues is a real concern.
Dr Crommelin said that while it is good the government is tackling the short-term letting issue, we need to ensure properties are used as homes for those who need them, not just treated as accumulative assets.
The bill is expected to be heard in the upper house when Parliament sits again some time in | 578 |
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Cole Swider makes two clutch free throws to help secure Syracuse's win at Florida State
Cole world. Cole life. Cole blooded?
By James Szuba@JamesSzuba Dec 4, 2021, 8:09pm EST
Share All sharing options for: Cole Swider makes two clutch free throws to help secure Syracuse's win at Florida State
Photo by David Allio/Icon Sportswire via Getty Images
TALLAHASSEE, Fla. — Cole Swider stepped to the free throw line<|fim_middle|> before he makes a ton of 'em at a high clip. It's coming. I promise you that," Jimmy Boeheim finished. | with his Syracuse Orange men's basketball team clinging to a one point lead as only 10.2 second remained.
Swider was fouled and had just grabbed a towel from his team's bench, wiped his hands clean of sweat and as he tossed the towel back he gave a wink to his Syracuse teammates. As he did, Buddy Boeheim shouted over to his head coach.
"Are we going to foul?" Buddy asked Jim Boeheim.
Syracuse was only up one at the time.
"I had no worries at all," Buddy said. "I knew right away he was going to make both."
"I didn't have a doubt, "Jimmy Boeheim added. "(I have) a lot of confidence in him. We all do."
Swider stepped up to the nail and made a pair. Both attempts fell right down the middle. He put Syracuse up three and the best Florida State could do at that point was tie the game with a three on a night when the Seminoles had shot 13.3% from outside.
Still, Syracuse wanted to foul up three. That's even after the Orange fouled up three against Indiana on Tuesday night and Trayce Jackson-Davis forced overtime with an offensive rebound and two free throws.
Against Florida State, the Orange just failed to execute.
"We wanted to foul but when we did foul last time it didn't work," Jim Boeheim said. "So I guess maybe it was a good thing we didn't foul."
On a night when Swider had struggled shooting the ball early, he made the two most important free throws of the night. He says he was confident, having been in that position before at Villanova.
"Just win the game," Swider said of his thought process when stepping to the line. "We practice that every single day. Coach Boeheim at the end of every practice puts us on the free throw line and if you miss, you run. We're used to that."
Buddy Boeheim said he was happy for Swider. Joe Girard, too.
"It was awesome. We needed him to do that obviously," Girard said. "We were confident in him. He was confident in himself. He's a confident player. We know he's a great shooter and there was no doubt they were going in."
Swider, who was so good for Syracuse from 3-point land in the preseason, has struggled at times to make outside shots. He's just 10-36 (27.8%) on the season, but his coaches and teammates believe it's only a matter of time before the law of averages takes over.
"I know Cole's going to make eight or 10 of these 3s one of these days," Jim Boeheim said. "He started out 1-for-6 I think. Then he hit a couple. ... If they're going to face-guard Joe and Buddy that way, Cole is going to get shots. He's going to have to cash them in and I think he will as he gets a little bit more game experience with us."
With a game against his former team, Villanova, looming on Tuesday night, that would be as good of a time as any for Swider to get going from range.
"It's only a matter of time | 676 |
Clinical implications of gene discovery in Parkinson's disease and parkinsonism
Christian Wider, Tatiana Foroud, Zbigniew K Wszolek
Over the past decade, major progress has been achieved in the identification of genes associated with Parkinson's disease (PD) and parkinsonism. Five genes have now been shown conclusively to play a role in PD susceptibility. Mutations in three of these genes, PRKN, P<|fim_middle|>. Molecular tests are now commercially available for several of these genes; however, in some of them, positive results need to be interpreted with caution until penetrance is better understood. In addition, clinical treatment of PD remains largely unaltered by the results of genetic testing.
KW - Genetic counseling
KW - Genetics
KW - Parkinson's disease
KW - Parkinsonism
U2 - 10.1002/mds.22723
DO - 10.1002/mds.22723
JO - Movement Disorders
JF - Movement Disorders
10.1002/mds.22723 | INK1, and DJ1, are important in early onset, recessively inherited PD, while mutations in LRRK2 and SNCA result in autosomal-dominant PD. LRRK2 has emerged as the most prevalent genetic cause of PD and has been implicated in both familial and sporadic forms of disease. In addition, autosomal-dominant dementia and Parkinsonism has been shown to be caused by mutations in the MAPT and PGRN genes. Molecular tests are now commercially available for several of these genes; however, in some of them, positive results need to be interpreted with caution until penetrance is better understood. In addition, clinical treatment of PD remains largely unaltered by the results of genetic testing.
https://doi.org/10.1002/mds.22723
Parkinsonism
Wider, C., Foroud, T., & Wszolek, Z. K. (2010). Clinical implications of gene discovery in Parkinson's disease and parkinsonism. Movement Disorders, 25(SUPPL. 1). https://doi.org/10.1002/mds.22723
Clinical implications of gene discovery in Parkinson's disease and parkinsonism. / Wider, Christian; Foroud, Tatiana; Wszolek, Zbigniew K.
In: Movement Disorders, Vol. 25, No. SUPPL. 1, 2010.
Wider, C, Foroud, T & Wszolek, ZK 2010, 'Clinical implications of gene discovery in Parkinson's disease and parkinsonism', Movement Disorders, vol. 25, no. SUPPL. 1. https://doi.org/10.1002/mds.22723
Wider C, Foroud T, Wszolek ZK. Clinical implications of gene discovery in Parkinson's disease and parkinsonism. Movement Disorders. 2010;25(SUPPL. 1). https://doi.org/10.1002/mds.22723
Wider, Christian ; Foroud, Tatiana ; Wszolek, Zbigniew K. / Clinical implications of gene discovery in Parkinson's disease and parkinsonism. In: Movement Disorders. 2010 ; Vol. 25, No. SUPPL. 1.
@article{550482dbc14f436cb85a19d24d26666a,
title = "Clinical implications of gene discovery in Parkinson's disease and parkinsonism",
abstract = "Over the past decade, major progress has been achieved in the identification of genes associated with Parkinson's disease (PD) and parkinsonism. Five genes have now been shown conclusively to play a role in PD susceptibility. Mutations in three of these genes, PRKN, PINK1, and DJ1, are important in early onset, recessively inherited PD, while mutations in LRRK2 and SNCA result in autosomal-dominant PD. LRRK2 has emerged as the most prevalent genetic cause of PD and has been implicated in both familial and sporadic forms of disease. In addition, autosomal-dominant dementia and Parkinsonism has been shown to be caused by mutations in the MAPT and PGRN genes. Molecular tests are now commercially available for several of these genes; however, in some of them, positive results need to be interpreted with caution until penetrance is better understood. In addition, clinical treatment of PD remains largely unaltered by the results of genetic testing.",
keywords = "Genetic counseling, Genetics, Parkinson's disease, Parkinsonism",
author = "Christian Wider and Tatiana Foroud and Wszolek, {Zbigniew K}",
doi = "10.1002/mds.22723",
journal = "Movement Disorders",
T1 - Clinical implications of gene discovery in Parkinson's disease and parkinsonism
AU - Wider, Christian
AU - Foroud, Tatiana
AU - Wszolek, Zbigniew K
N2 - Over the past decade, major progress has been achieved in the identification of genes associated with Parkinson's disease (PD) and parkinsonism. Five genes have now been shown conclusively to play a role in PD susceptibility. Mutations in three of these genes, PRKN, PINK1, and DJ1, are important in early onset, recessively inherited PD, while mutations in LRRK2 and SNCA result in autosomal-dominant PD. LRRK2 has emerged as the most prevalent genetic cause of PD and has been implicated in both familial and sporadic forms of disease. In addition, autosomal-dominant dementia and Parkinsonism has been shown to be caused by mutations in the MAPT and PGRN genes. Molecular tests are now commercially available for several of these genes; however, in some of them, positive results need to be interpreted with caution until penetrance is better understood. In addition, clinical treatment of PD remains largely unaltered by the results of genetic testing.
AB - Over the past decade, major progress has been achieved in the identification of genes associated with Parkinson's disease (PD) and parkinsonism. Five genes have now been shown conclusively to play a role in PD susceptibility. Mutations in three of these genes, PRKN, PINK1, and DJ1, are important in early onset, recessively inherited PD, while mutations in LRRK2 and SNCA result in autosomal-dominant PD. LRRK2 has emerged as the most prevalent genetic cause of PD and has been implicated in both familial and sporadic forms of disease. In addition, autosomal-dominant dementia and Parkinsonism has been shown to be caused by mutations in the MAPT and PGRN genes | 1,241 |
Credit Union members are both customers and owners. As a customer, you receive the services you want and need<|fim_middle|> credit unions serve over 118 million people with assets totaling about $600 billion. | , and as an owner you enjoy a return on your share investment in the form of competitive rates, value costs for premium services, and local control of your own financial institution.
Belonging to a credit union means that you are more than a customer - you are an owner - and as an owner you get to influence the progress of your business. There is a voluntary Board of Directors that you elect with your right to vote at the Annual General Meeting. All decisions are made locally, by people who live in and understand your local community. As neighbours, living and working in the same community, offers all the financial services you require with a big difference - pride in knowing all monies stay here in our own communities working for your own economic benefit. You'll enjoy a flexible approach to business and responsiveness to local concerns. All things being equal, why would you not choose a financial institution where the very ownership structure is designed to focus on, and is sensitive to, your needs?
Visit www.honestmoney.ca for more information on why credit unions are becoming the preferred choice of financial institution for millions of Canadians.
Our professionally trained, knowledgeable employees provide personal service and attention to owners from service locations in L'Anse au Loup, Mary's Harbour, St. Anthony, Port Saunders, Happy Valley-Goose Bay and Deer Lake. Members can choose to transact their business electronically through Automated TeleService, Personal Contact TeleService, ATMs and MemberDirect Online Access.
The ability of credit unions to return benefits to their owners and their communities is in direct proportion to the support they receive from owners in the community. Making Eagle River Credit Union Eagle River Credit Unionyour primary financial services provider means higher levels of service and greater benefits and rewards to both owners and the community. We see ourselves becoming part of every family in our province by establishing a relationship of trust with dependable, complete service for every financial need. Credit unions are part of a strong regional, national and international network of credit unions.
In Newfoundland and Labrador, 61,157 residents are credit union owners. There are 9 credit unions, 38 locations, across this province. Total assets are $1.1 billion as of December 31, 2015.
Canada's 694 credit unions and affiliated caisses populaires have combined assets of over $328 billion and serve 10.1 million owners. These figures speak to the vitality and strength of the Canadian credit union movement as we enter the 21st century.
Internationally there are 105 credit union countries with a total of 57,480 credit unions. These | 538 |
Climate and Development Knowledge Network
Agriculture & food security
Gender approaches
Low carbon energy
Urban & subnational areas
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Physical climate science
NEWS: Workshop drives south-south collaboration in modelling the costs of mitigation actions
From 23-25 October 2013, researchers from five developing countries gathered in Rio de Janeiro, to discuss joint progress on modelling the socio-economic implications of mitigation actions for their respective countries. They were brought together by a CDKN-funded project to further research in this field.
The workshop, entitled EconLab 2, was a platform for researchers to share their experiences in linking so called economy-wide models with sectoral ones. It was also an opportunity for the research partners to present preliminary results from their analyses of carbon taxes and other mitigation actions and get feedback from international peers.
Forty three participants from several research institutions were present, including the Energy Research Centre (South Africa), COPPE (Brazil), the Energy Centre, Institute of Economics and the Ministry of Finance (Chile), Universidad los Andes (UniAndes) and Department National Planning (Colombia) and the Peruvian Amazon Research Institute (IIAP), Apoyo Consultoria and Libelula (Peru).
Policy makers need to know the socio-economic implications of different mitigation actions, like carbon taxes or cap and trade systems, if they are to make informed decisions about low carbon development pathways and win political support for these.
The costs of specific actions over time can be calculated using models that represent a country's economy, and GHG emitting sectors like energy and land use change. The problem is that so called bottom-up models, also called engineering or sectorial models, and top-down models, also called economy-wide models, give widely varying results to the same question. This is because these two sets of models are designed from<|fim_middle|>For more information on the CDKN-funded project visit the CDKN project page. For workshop resources, including posters and presentations, visit the MAPS workshop page.
Africa, South AfricaAgriculture & food security, Climate change mitigation, Forestry & REDD+climate change mitigation, linking models, Mitigation action Plans and ScenariosNews articlesAAAF-0011
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English Español Français powered by | different perspectives and originally to address different issues. What an economy-wide model can calculate internally, an engineering model must take as exogenous input and vice versa. The challenge is to link these two sets of models for a specific country so that they can influence each other's calculations and arrive at a more holistic picture.
Extracts from Lab discussions
Work was structured around small group poster presentations from country research teams, open plenary sessions and café style discussion groups.
Amaro Pereira and Carolina Grottera from COPPE explained the link between their two models, IMACLIM and MESSAGE. The linked models are being used in the analysis of the Brazilian power sector. The models will be used to analyse the impacts of a set of carbon taxes on GHG emissions, GDP, job creation, income distribution, and on how to recycle the carbon tax revenue. They also shared proposed work on simulating a cap-and-trade scheme within their models.
Carlos Benavides and Luis Gonzales presented the Chilean team's work on linking their electricity-planning model with the Ministry of Finance's Dynamic Stochastic General Equilibrium (DSGE) model. Discussions focused on calibrating the models with historical information, the challenges of internalising variables, and assessing the interaction of different policies such as Chile's Renewable and Non-conventional Energy (ERNC) law.
Ricardo Delgado presented the Colombian team's work on linking their Markal energy model with the Department of National Planning's MEG4E model for the Colombian economy. The team is evaluating the impact of carbon taxes and different caps on GHG emissions on the Colombian economy. Discussions touched on how their model could be used to analyse the impact of mitigation actions on income distribution by incorporating different household income groups. The Colombian team is also considering a tax for international electricity imports which could significantly affect their results.
Angel Salazar and Tessy Vásquez presented the IIAP's work on modelling a policy that incentivises reforestation through agroforestry in Peru, a mitigation action starting with government investment rather than a tax. Key suggestions from the EconLab participants were to include the impact of REDD on employment and household income, as positive impacts on these variables could lead to more favourable reviews by government.
Bruno Merven presented the South African team's work on linking SATIM, a sectoral model and eSAGE, an economy-wide model. He also presented some of the preliminary results that the team obtained from modelling the implication of a carbon tax on economic growth, jobs and poor households. Discussions focused on the how the choice of starting point (sectoral vs economy wide) could change the end convergence point and hence results of the model.
Plenary discussions cast the net wider to current and past research beyond the CDKN-funded work. Harald Winkler shared the experience of the Energy Research Centre in packaging carbon tax during their Long Term Mitigation Scenarios project (2005-2007). Pedro Rochedo gave an overview of the Global Environment Facility (GEF) funded project on GHG mitigation options in key-sectors in Brazil. Marcelo Moreira from the Institute for International Trade Negotiations (ICONE) gave a presentation on Brazilian Land-use Model (BLUM) and the linking of land use, land use change and forestry (LULUCF) models and economy-wide models. Plenary sessions also addressed general issues such as the conceptualisation and measurement of co-benefits. Harald Winkler emphasised the potential to re-cast the problem in 'development first' terms by looking at mitigation as a co-benefit of developmental actions rather than the other way around. He argued that as long as the focus of Integrated Assessment Models (IAMs) is on mitigation, there is a risk that it will remain a niche activity. As a Adrian Stone from the Energy Research Centre confirmed: "Jobs, jobs, jobs. That's what Treasury told us. If you want to sell mitigation, jobs are the way to do it."
The workshop ended with parallel café sessions on LULUCF, the mechanics of linking models, and measuring co-benefits. These small group discussions allowed interested participants a more granular discussion on specific issues of interest.
The lab foregrounded the importance of collaboration between research teams from different southern institutions and the value of collegial exchange, support and competition. "The workshop [was] very helpful to improve the methodologies we are undertaking" said a Brazilian participant. "It has been very useful to share our experience and ask for advice on the main concerns for the Peruvian macro-economic team" remarked a Peruvian participant.
| 936 |
Channeling the Dead: Dark Star Orchestra in DC
March 9, 2010 Mike Vasquez 2 Comments
Dark Star Orchestra at the 9:30 Club
Washington, D.C., November 13-14, 2009
Dark Star Orchestra played two outstanding shows at the 9:30 Club in D.C. in November. Friday's show (Friday the 13th! Spooky!) replicated a Grateful Dead show from 1976, and Saturday was a "roll your own" show, with the band putting together their own set lists. Both shows were good, and the first night was great. The crowd was inspired<|fim_middle|>, adept at playing the Jerry part. But he does do some unique solo work, with the obvious Garcia influence, but still his own. It really comes out when the band ventures out into the wide open spaces, and Kadlecik starts exploring. You can hear it in the second part of Let it Grow especially. Ship of Fools, too (both from the Friday show).
It was a packed house both nights. A lot of energy and excitement in the air. Everyone knew the songs and the lyrics (mostly). The sound was good, from both the main floor and the balcony. Both were general admission, so you could move freely from one to the other. Always a good thing, and there were decent sight lines all around. I remember they had good drinks, and lots of beer. I especially remember the narc turrets. Above the balcony, on either side of the stage, facing the crowd, were two elevated turrets from which security could monitor the crowd for smoke. You see, Maryland doesn't allow smoking in bars anymore. So any smoke is suspect. The immediate assumption – probably a good one – is that any smoke sighted is marijuana. So the security guys in the narc turrets would radio to their compatriots on the ground, and they would zero in on the perpetrators. To their credit, I think they give everyone they catch a warning rather than just kicking them out. But that's one unintended consequence, if you will, of cigarette smoking bans. Which are, after all, a good thing.
So what's the moral of the story? Go see Dark Star Orchestra. They are a great band, period. Tons of fun, and the crowd crackles with energy. Everyone wants to have a good time, so that's usually what happens. It's like the guy in the movie says: "there's nothing like a Grateful Dead concert." Dark Star Orchestra does a great job of keeping that spirit going.
All MP3 links via the Live Music Archive. All photos by AMP.
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2 thoughts on "Channeling the Dead: Dark Star Orchestra in DC"
jessica simpson says:
9.30 club is a great venue to see a gig!
Mike V. says:
Definitely, Jessica – a great venue. Would gladly go there again to see a band. | both nights, singing along with all the songs, and the band played like it was a special occasion. Someone I spoke to on the second night – a guy who had seen 30 Dark Star Orchestra shows – said Friday night was the best Dark Star Orchestra show he's seen.
I haven't seen that many myself, but I still can't say enough good things about that first night. It was an inspired show selection, with a roaring rendition by the band. The show they played – June 27, 1976 – was from the second of a four night run at the Auditorium Theatre in Chicago (Which is where, incidentally, Furthur just played this past Tuesday and Wednesday). The audience loved it.
It was a wet, rainy day in D.C., and the show they picked from that run had a good number of rain related songs – Cold Rain and Snow, Big River, Looks Like Rain – and the encore is U.S. Blues, right for the time of year – "summer time done come and gone, my oh my." I can't say the rain had anything to do with the set list they selected, but you never know.
To my mind, the mid to late 70s is arguably the most exciting period in Grateful Dead history. Blues for Allah, a record of new material, was released in the fall of 1975. On the 1976 summer tour, they were doing much of the material plus a retinue of well road tested material – Friend of the Devil, Looks Like Rain, and Wharf Rat, to name a few in this show. There isn't a bad song in the lot, and DSO did them all justice. The first set starts with Cold Rain and Snow – a traditional song arranged by the Dead – and had one of the cowboy songs – a cover of Johnny Cash's Big River – they like to play. Cold Rain and Snow got the crowd engaged and responding to the band. It's one of those songs the whole audience knows and everyone sings along with. Ship of Fools through Looks Like Rain was a highlight of the first set. The second set, with the Help on the Way -> Slipknot -> Franklin's Tower song trilogy from Blues for Allah, maintained the same energy level.
The band rounded out the night with some outstanding filler, since they weren't ready to stop playing – Midnight Hour, Easy Wind, and My Sisters and Brothers. All great picks, with the gospel song My Sisters and Brothers being a personal favorite.
The second night has much to be said for it, too. A lot of really great song picks, and the band really embraced the energy of the crowd. I managed to position myself up front, right in front of the resident Jerry and the keyboard player. The best place to be. They kicked it off with Hell in a Bucket, a song I've only come to really know and love since they released it for Rock Band. "I was drinking last night with a biker, and I showed him a picture of you." Of course you did! A real barn burner to kick off the night. Next was a China Cat Sunflower into I Know You Rider. Always a crowd favorite, with a boisterous crowd singalong, especially in I Know You Rider. The whole crowd knew the words. "I wish I was a headlight on a northbound train!" It's pretty awesome to hear a thousand people sing that at the same time in an indoor venue like the 9:30 Club.
The first set rolled on after that, rounding things out with Visions of Johanna (Obligatory Dylan Cover? Check!) and a nice Music Never Stopped. The second set started out like a list of songs I hope to hear but never expect to. I about dropped my freshly poured frothy beverage when I heard the thundering intro chord to Shakedown Street. I'll admit it. I got a little excited. It's a great song for dancing, with plenty of open space for musical exploration by the band. It typically doesn't disappoint, and that night was no exception. Then Man Smart, Woman Smarter. A great Bobby cover, one of a handful of Caribbean type covers (country and blues covers are more common). Harry Belafonte popularized it in the 50s. I could almost hear Bobby and Brent singing this one. They really captured the essence of it. Then Terrapin Station. Why Don't We Do it In The Road was the strangest pick of the night – I don't think I've ever heard the Grateful Dead play it. So that was a bit weird, but an interesting way to remind us that they are not the Grateful Dead.
I will say this: The Dark Star Orchestra is the best Dead cover band I've seen. And I've seen more than a few. They've got the full band – two drummers, two guitar players, a bass player and keyboard player. When they do shows from the 70s, there's a woman who takes the Donna role. And they've been touring together for years, building a decent following along the way. They've mastered the art of recreating Grateful Dead shows, set for set, song for song. Along the way, they started crafting their own sets as well. We saw both in this two night run.
Perhaps the second night was a farewell of sorts for John Kadlecik, a founding member and the resident Jerry who announced he was leaving the band the Monday after the shows at the 9:30 Club. So these were the last two shows before the band made Kadlecik's departure public, and announced his replacement by Jeff Mattson, who played with the Donna Jean Godchaux Band (Kadlecik played a handful of additional shows after the announcement, before passing the torch to Mattson). Kladlecik is a skilled guitar player and singer | 1,213 |
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Trout fishing was Great last week as we had 15 trout for Billy Pillow, Wes Blue and me on Thursday. Then I had Jim Bruchey with his son, Kendall both of Moultrie, Ga. out Friday and they had a blast catching 15 trout and 5 reds on live pinfish and shrimp rigged up under Back Bay Thunders. Saturday, I had Bill King and Parrish King of Andalusia, Alabama with John Anderson of Destin, Florida and we brought in 18 trout to 23" , five reds to 26" a Spanish and an Black Sea Bass. We fished 3 - 4.5 feet of water to land our fish. The reds ate shrimp and pins while the trout were caught on live pinfish. We had half our trout on the rise<|fim_middle|> figure out with less range of tide to scatter the trout. The afternoon rising tide should hold the best bite but we shall see after the smoke clears. | then half on the first two hours of the fall.
Sunday, I took Will King ( Bill's other son) with Blake Lomenick both from Auburn Alabama, and Jared Harden of Ft. Walton, Fla. out and we caught 13 trout and 6 reds all on the incoming tide on live pinfish rigged under Back Bay Thunders.
Wednesday, I had John Ferguson and David Farnsworth of Americus, Ga. on board and we brought in 11 trout and 6 reds fishing with live pinfish and live shrimp under Back Bay Thunders from 3.5 - 4 feet of water...after we ran from the rain and then got a little wet coming back through it.
The unusually high hi tides made it interesting last weekend; but this weekend ought to be easier to | 166 |
WeWork's Longest Lease Negotiation: An East Midtown Post Office [Updated]
By Lauren Elkies Schram February 11, 2016 7:00 am
450 Lexington Avenue post office (Photo: CoStar Group).
WeWork rarely takes more than eight weeks to finalize a lease. In the case of an East Midtown post office, the deal took over two years.
That is the "longest deal I've ever been involved with," Mark Lapidus, WeWork's head of global real estate, told Commercial Observer.
The global shared office provider has leased 60,000 square feet on the entire fourth floor at the six-story post office at 450 Lexington Avenue between East 44th and East 45th Streets through 2043, Mr. Lapidus said.
"They're used to doing 1,000- [or] 2,000-square-foot tiny little deals all over the place, so their first lease to us was 15 pages," Mr. Lapidus said. "We ended up at almost a hundred. Between the two, it just took years to get there."
According to Mr. Lapidus, the United States Postal Service wants WeWork to lease in its building because "they don't want to put capital in. They have space sitting vacant that they're not marketing. It's just sitting. We need space. They're willing to do cheaper-than-market deals for someone to come in and take it off their hands."
How cheap?
Mr. Lapidus said there wasn't an official asking rent and the post office just asked what WeWork wanted to pay. He said the deal was done in the $20-somethings per square foot.
450 Lexington Avenue (Photo: CoStar Group).
But that includes WeWork building a new infrastructure and replacing windows. Rather than spending the typical $200 to $250 per square foot on building out a space, WeWork will invest $350 a foot at the Midtown East post<|fim_middle|> Office as well as New York City's Landmarks Preservation Commission. The company is "going through that process now," Mr. Lapidus said.
Regarding the actual construction, Mr. Lapidus said: "The exterior of the building is beautiful and we intend to ensure it stays that way. Most of our work is internal to the building, which will not require approvals."
The new location should open at the end of this year.
Despite the complexity of the deal, Mr. Lapidus said it was worth it as the post office is a big landlord and the location is "irreplaceable."
"The post office [deal was] very complicated, obviously, but strategically, as a partner for us, they're amazing, and I think they have millions and millions and millions of square feet of office space around the country that's sitting vacant," he said.
CBRE's John Maher represented the post office in the deal. Mr. Maher declined to comment.
As for the post office, a spokeswoman characterized the deal as in "active negotiation."
She further noted, via email: "While we cannot speak directly to any negotiations while still active, let me stress that it's vital that the postal service manage and adapt our building portfolio to align with customer and organizational needs at a sustainable cost. That means we can, and do, look for opportunities to create new revenue streams using our facilities when possible. And revenues collected in this way do mitigate the need for cuts in other areas as we continue to balance our overall resources."
Mr. Lapidus responded that he didn't know why the post office was saying that when WeWork is "currently in the permit and construction process."
Update: This story was edited to include more details from the spokeswoman for the post office and a response from WeWork.
Keywords: 450 Lexington Avenue, CBRE, Fidelity Investments, John Maher, Landmarks Preservation Commission, Mark Lapidus, New York's State Historic Preservation Office, RXR Realty, United States Postal Service, WeWork
Design + Construction · Leases
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Presented By Partner Insights | office location.
"It's almost the equivalent of building ground up in New York today," Mr. Lapidus said.
WeWork, whose valuation has risen to $15 billion as a result of a markup by Fidelity Investments last week, will share the building with the post office. WeWork will have its own entrance and elevator bank on the side street with signage.
RXR Realty owns the 32-story office tower on top of the post office, which it has owned and occupied since 1933, through a $720 million ground lease which closed in September 2012, property records indicate.
To commence work at the site, WeWork requires permissions from the New York's State Historic Preservation | 148 |
Daring programme in Nottinghamshire
By Roderic Dun<|fim_middle|> audiences, too.
Padilla's Missa Ego sum flos campi is recorded by Ex Cathedra on Hyperion CDA 30030.
Metaphysical poets of today
Love and the cloister
Refreshment in a noisy world
Photo: Sacrificial victim
Orthodox bestseller
Terrible worriers should read on
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Port Chaplain (Locum)
A ministry of Holy Trinity Cathedral, Gibraltar wishes to arrange locum Port Chaplain cover for one year from 1st May 2022. | nett
SINFONIA CHORALE is a prodigiously talented choir based in and around Nottinghamshire.
On the basis of its latest concert at Beeston Parish Church, an inspired collation of Baroque works that are almost never heard in the UK, it not only has, under its director, Richard Roddis, courage in its programming: it is meticulously rehearsed, and now of a quality to be dubbed the Ex Cathedra of the East Midlands, in an allusion to the Birmingham-based ensemble that provided help to inspire this polished concert.
One of Sinfonia Chorale's great assets - as its performance of Antonio Teixeira's Te Deum with the Derwent Singers in Derby Cathedral and Southwell Minster in March 2011 proved - is the singular solo quality of its singers. The blend is first-rate; but individual voices arise out of the textures to deliver powerful solo passages. A low bass allotted several sequences in this concert (in Buxtehude not least) was pick of the bunch: commanding, fabulous-toned, clear, unbooming, and accurate. The rest were too many to mention; but their bold contributions were utterly uplifting.
This was daring programming. Not only did the pieced-together Baroque Ensemble's brass come up with a sturdily performed eight-part work by the Venetian - what would now be Croatian - Francesco Usper (1561-1641). But enter two works, one a Salve Regina, the other Mexican-inspired - a short invocation of the Virgin in the Nahuatl language - by the splendid Hernando Franco, first Spanish composer of note to follow Columbus to (central) America; and, wrapped around them, the whole Missa Ego flos campi (including expressive Credo) by Juan Gutiérrez de Padilla, who followed around 1620, and spent almost half a century, latterly as maestro de capilla, at the cathedral in Puebla, near Mexico City. As the notes pointed out, this was the richest musical centre of the Spanish territories outside mainland Spain.
Many a subtle detail of these extraordinarily individualistic works was brought out: nuanced, as appropriate emphatic, admirably illustrating the distinct variety that Padilla, a master placed between Renaissance and high Baroque styles, achieves. Solo and chorus entries were confident, finely executed, and attractive: evidence of remarkable preparation, given that Roddis's main emphasis is to lend a clear beat (only twice did his richly imagined pacings fractionally flag) rather than tease out finicky detail. It is evidence of his confidence in his singers. This is well placed.
Use of instrumentation to double the voices - hard work went into making ready materials - paid off in alluring colouration and texturing. North and south Germany made inspiring appearances: an earlyish setting of Psalm 24 ("The earth is the Lord's") by Heinrich Schütz, and an even more buoyant cantata, Alles was Ihr tut, by J. S. Bach's idol Dietrich Buxtehude. The tone of each of the soprano soloists (as here) was enticing, individual, and consistent. The repeated instrumental prelude was gorgeous. The choir was superb.
Fabulous brass again initiated the Austrian Heinrich Biber's Dixit Dominus, the first part of his Vespers. Then buoyant soli came in quick succession. Just at one point what appeared to be a solo octet creaked in its tuning, and that scarcely at all. Two, perhaps three fugues (one at "Quia fecit" in the Magnificat) were terrific; and the content was absorbing. Deep down, the bass shone again. The emotive tensions where two upper voices are paired were even more evident here: it had all the intensity of chromaticism. The Magnificat opens like Handel and Purcell conjoined; Biber's finale (not doxology) was thrillingly paced.
Choral societies are often timid, fearing that electrifying music like this will scare away audiences. For the sake of their choirs, conductors could, like Sinfonia Chorale, be more adventurous. The thrill of the unknown sometimes outweighs the sleepy security of the known. And that is true for | 895 |
A hilarious and poetic coming-of-age story about a natural-born trouble maker, and his relationship with his father. The story follows Inua's real life journey from his birth place in Nigeria to the culture-shock of England,<|fim_middle|> of what it is to be a young black male in the UK today.
A London Word Festival Commission. Funded by Arts Council England.
"Ellams' poetry gleams with a dusty, worn, deeply original beauty and he remains such wonderfully generous company to keep on stage."
"Ellams' poetry is smooth enough to melt in the ear, yet packed full of snap, crackle and pop."
"Inua Ellams' captures our attention as soon as he opens his mouth."
"Delivered with perfect timing in a wonderful style, it's both a playful and intelligent production."
"**** There's something uniquely 21st Century about Ellams' voice which somehow absorbs the whole experience of colonialism without being totally defined by it." | charting his trials, tribulations and mischief-making along the way.
Using playful rhymes, Inua weaves vivid and endearing characters, while at the same time challenging expectations | 36 |
Deep Bight is een dorp en local service district op het eiland Newfoundland in de Canadese provincie Newfoundland en Labrador.
Geschiedenis
In 199<|fim_middle|>Canada Highway (NL-1) gelegen plaats ligt 5 km ten zuiden van de grote gemeente Clarenville. In het zuiden grenst Deep Bight zelf aan Adeytown, een klein dorp dat deel uitmaakt van het local service district Random Sound West.
Demografie
De designated place Deep Bight kende in de jaren 1990 een dalende demografische trend. Sinds het begin van de 21e eeuw is de bevolkingsomvang er echter stabiel gebleven met een inwoneraantal dat steeds rond de 180 schommelt.
Bron: Statistics Canada (1991–1996, 2001–2006, 2011–2016)
Taal
In 2016 hadden alle inwoners van Deep Bight het Engels als moedertaal. Geen van hen was naast het Engels een andere taal machtig.
Zie ook
Lijst van local service districts in Newfoundland en Labrador
Local service district in Newfoundland en Labrador
Designated place in Newfoundland en Labrador | 6 kregen de inwoners van Deep Bight voor het eerst beperkt lokaal bestuur doordat de plaats een local service district werd.
Geografie
Deep Bight is gelegen aan een inham aan de zuidwestelijke oever van Southwest Arm. Dat is een lange zijarm van Trinity Bay, een van de grootste baaien van Oost-Newfoundland.
De aan de Trans- | 90 |
The Model TC-71LC Lab Coater is rapidly becoming the new standard bench top coating machine used by the world's leading manufacturers of web coated and tape<|fim_middle|> types of coating materials and adhesives onto a range of substrates and laminations including polymers, paper, metal foils, textiles and non-wovens. Perfect for quality control and product development or when precision, reliability and versatility are required, the preferred choice is the Model TC-71LC. | cast products. Named the "Silver Bullet", the TC-71LC Lab Coaters supplied by HED International are routinely used to make the finest solar products, batteries, fuel cells, dermal patches, flat panels, bandages, prepegs, leds and electronic components.
The coating equipment options that are available with the TC-71LC include; continuous web speed control, substrate unwind and take-up stations, convection and infrared drying, coating fluid retainers, slot dies, blades and roll coating applicators. The TC-71LC can be used to apply many | 118 |
Several subscribers to this webpage are genuine English professors. Yes, it is true. Often in the wee hours of the morning, I will giggle and snicker to myself when I write something, as I know it is going to raise an eyebrow somewhere for sure.
But that is the way it goes, first your money and then your clothes.
Last year I had one particular person that wrote me constantly to ensure that I realized the placement of an apostrophe was in the correct position. It never did sink in, and she kind of faded off into the sunset of life, never to be heard from again.
Others have gotten very vocal about it, which I don't believe is fair, I don't go over to their house and try and rearrange their furniture. I know (or hope) they are doing this in my best interests.
Our youngest boy called and checked in this weekend. He is thirty-nine years old, father of three, a man of the cloth in Houston, Texas. During the conversation he will always interject "How's your little blog doing Dad?" which rankles me to some extent, but I never allow him the pleasure of really knowing what effect it has on me. I consider it a "body of work" something of an accomplishment, and I rate it a lot higher than a "little"<|fim_middle|> magnet shaped in the image of a banana or a piece of fruit, and stick it to a refrigerator. In short … Pulitzer Prize material it was not.
But it got read, it got things done, it made the world a better place, and in the end, that was good enuff.
The next day, at breakfast he inquired of me, "What did you think of my paper?" and I replied, "Seriously? You want to know?" and he said, "Yes. I have to turn it in soon." As gently as I could I told him I thought it needed some punching up, it was kind of weak.
Now and then, when I get an email ripping me on my site and my abilities, I just sit back in my chair, and I muse this little slice of life over in my mind. It makes me smile, and to this day I still think about it …. and of course you know the rest don't-cha … My little blog is doing just fine.
John Ruskin, quoted in the New York Post.
Thank you so much for dropping by today and allowing me to share this with you, have a great day. One last thing in closing, if it is humanly possible try and make this little blog a letter perfect start to your week. That would really make my day. | anything.
Smiling my toothy smile, I work it over in my mind and I reply, "Oh, it is doing just fine son, how is the family?" and I let it go. Creative Endeavors is my baby … It isn't much … But it is all I got. The material is good, it makes people smile from time to time, often the comments are favorable, outside criticism is no big deal, and I let him know it in short order on most days.
Before I did this, I wrote a union paper that was entitled The Flynn Flyer, ten pages a month, consistently month after month. It was read mostly by railroad men in 24 states and 3 provinces in Canada. It never won an award, public recognition, or any kind of notice in the publishing world. The best we could possibly hope for was maybe, somewhere, someone would take a | 182 |
Voting machine company says it's rewritten faulty code that caused big delays — but can't guarantee new software will be approved for use by November
Jay Senter Aug 27, 2018 - Elections
Election Commissioner Ronnie<|fim_middle|> beyond doubt that the system works.
Former Johnson County Election Chair Brian Newby, who was implicated in mismanagement of election office resources and personnel management problems following his departure, now works for the federal Election Assistance Commission. Newby "oversees the day-to-day operations at EAC in all program areas, while managing a $9.6 million budget," according to his EAC bio.
Attendee at JoCo GOP election night watch party tests positive for COVID-19
Trump and the economy start to define the race for Kansas' U.S. Senate Seat
Schedule set for Shawnee Mission Post's candidate forums this fall
Marshall beats Kobach for GOP nod, setting up U.S. Senate race against Bollier
The Kansas primary election could say a lot about whether the state expands Medicaid | Metsker with one of the ExpressVote consoles. Photo credit Johnson County.
Twenty days after company officials told Johnson County residents technicians were "working around the clock" to identify the issue, Election Systems & Software said this morning that it had rewritten a portion of the software code that led to a massive delay in reporting primary election results earlier this month.
But it's not a guarantee that the updated software will be approved for use in November's elections.
"The slow reporting of results was unacceptable, and we apologize," said Tom Burt, president and CEO, ES&S. "We know the Election Office and other Johnson County Government leaders put their faith in us and we let down our valued partners. After exhaustive analysis to pinpoint the issue, we rewrote the portion of code that caused the issue, and initial tests of the optimized code were successful. We will continue testing, and we look forward to federal certification of the optimized software."
The company and Johnson County issued a joint press release Monday morning with an update on the investigation into what caused the problem and how the company plans to address it. ES&S says it is performing "extensive testing" of the new software.
However, the company acknowledged it cannot be certain the updated software will be certified by the U.S. Election Assistance Commission (EAC) in time for it to be used in the November election.
Consequently, the company said it is working on a contingency plan.
"As a contingency, in the event the new code is not government certified prior to the next election, ES&S is testing an alternate reporting process that would also provide accurate results in a more expedient manner than the primary election reporting," reads the release.
The software program that was deployed for the August 7 primary election had been certified by the EAC on July 2. The specific combination of hardware and software put into the field by the Johnson County Election Office for the primaries had never been fielded for a live election anywhere in the country before.
Election Commissioner Ronnie Metsker said the election office would be working to ensure the equipment worked smoothly with the updated software in-house before the November elections.
"The testing being performed by ES&S and the federal Election Assistance Commission (EAC) is an important part of this process, but we want to ensure that the solution works on the actual equipment in our office," Metsker said. "That's the only way we can assure the voters and taxpayers of Johnson County that results will be reported in a timely manner in November."
Johnson County's Board of County Commissioners in May unanimously approved awarding a $10.5 million contract to ES&S for the new voting system despite a competing firm's formal objection to the process leading up to Metsker's recommendation of ES&S. Henry M. Adkins and Son, Inc., said at the time that because the purchase recommendation was made from a three year old request for proposals, the county was likely overspending and may not be considering the newest technology.
Metsker and County Chair Ed Eilert have stressed that they will not authorize payment to ES&S for the voting machines and associated support until the company has proven | 628 |
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The evening prior to the tasting seminar, The Manifest did a special offering of four different pisco cocktails so that the general public could be introduced to the spirit.
From left to right, we have the Pisco Punch (if you've heard of pisco, it's probably because of this drink or the Pisco Sour), El Capitan (with cacao bitters), Vice & Virtue (Scotch-y, ew!) and East India Cocktail (with rum and pineapple). My favorite was the East India.
The pisco cocktail menu was a nice way to experience pisco, but I still didn't have any idea what pisco itself actually tasted like. The seminar the next day changed all that.
<|fim_middle|> making them. Knowing why it has a particular taste makes it more enjoyable to me. If you like tasting seminars or you want to learn more about spirits, The Manifest frequently offers ones that are open to the public. Follow them on Facebook , Twitter or Instagram to find out when they're being held.
Disclosure: Sugar + Shake were hosted by Encanto de Campo and The Manifest, but no compensation was received for this post, and the opinions expressed are strictly my own.
My husband and I just returned from Rapa Nui, Chile and Argentina. He would love to find a bottle of pisco sour in Honolulu where we live. Is there a store where you can purchase the grappa alcohol or ready made pisco? It would be a nice Christmas surprise for him.
Mahalo for reading! While I haven't yet seen this particular brand in stores, I have seen other piscos, as well as grappa. Our favorite liquor stores are Tamura's (on Waialae & one in Kailua) and Fujioka's (Market City). The pisco is straight; you'll have to mix your own sours, but they're really simple!
And BTW Ingrid, for your knowledge, Pisco is from Peru. | Led by Duggan McDonnell, co-founder and CEO of Encanto Pisco (left, with Joey Gottesman of Young's Market), the tasting gave us the chance to try five different piscos from the Encanto line—three that are readily available for purchase, and two special batches that are still being aged.
Duggan told us that in Peru, guys go to the bar and buy pisco by the bottle. They share the bottle (and a single glass) among a few of them, drinking it until it's gone, then they order up another. I don't think I'd fare well in Peru.
The most common type of pisco is Acholado—meaning "of the cholos," i.e. "of the people"—which is a blend. A distiller like Encanto will carefully select a mix of red grapes, for body, and white, for aromatic qualities. Like in wine, the particular blend brings a different character. There are also single varietal piscos.
To be a true Peruvian pisco, the spirit must come from one of five designated areas—it's another of those regional products like Champagne, Parmigiano Reggiano or Kona coffee, where origin is inextricably part of its identity and if it wasn't "born" there, it's not the real deal. Additionally, only eight varietals of grape are permitted to be used, all of them old heritage vines, and the grapes must be hand-harvested. Pisco is a single distillation spirit and it's not diluted before bottling.
First up, the first of Encanto's releases, their "Grand & Noble," an acholado. It's a blend of four varietals: Quebranta (74%), Torontel (6%), Moscatel (4%) and Italia (16%). So, what happened was that my Glass #1 and my Glass #2 were mixed up so my notes make no sense (and also they are a bit illegible). Basically, I thought the Grand & Noble was OK, but it did not convince me that I would want to drink this spirit straight. That's OK, though, because Encanto really touts this one as a cocktail-friendly spirit that is good for mixing.
The next two were single varietal piscos, one made strictly from Quebranta grapes (Quebranta is the most common type of pisco grape) and the other from Moscatel, which, as you might guess from the name, is the same type of grape used for moscato wines. Unsurprisingly, I liked the latter best. Several people identified a bell pepper taste in the Quebranta, and that is one of the flavor elements that Encanto calls out on their tasting notes. Although I couldn't single out that particular aroma or flavor, it doesn't surprise me that I didn't care for this one. The Moscatel had more of a fruit quality and the lingering taste was more to my liking.
The last two samples were works-in-progress and have not been released. Even when they are, I don't exactly hold out hope that we would see them here. Anyway, both were Mosto Verde types, which are young distillations. Because the fermentation process has been stopped early on, there is still a great deal of sugar left, so the pisco is sweeter, more flavorful and less alcoholic. It is considered the premium pisco and therefore it's more expensive. So of course it's the one I liked the best. I have an uncanny knack for loving the things I can't afford.
Thus concluded our pisco education. Drinking it straight was a bit too harsh for me, but I think it's an interesting spirit to mix cocktails with since it adds an element of fruit and flowers without adding much sweetness.
I really enjoy tasting seminars. I like the chance to taste different iterations of the same product or brand next to each other and I find it fascinating to learn about what goes into | 822 |
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Readers' Mailbag: An Inspiring Story
January 24, 2018 by Chris Bolton in Readers' Mailbag, Blog, Book One, Fan Letters, Kids' Comics, Letters
We just have to share a wonderful email that we received from a woman named Dianne, about a young reader's experience with our first book, SMASH: TRIAL BY FIRE.
Mason is nine, in my daughter's 4th grade class, and carpools with our family to school in the mornings. We practice spelling words and math flash cards in the kitchen before the carpool as a way to get the kids ready for their school day. Mason had no problems with flash cards, but struggled mightily with spelling words. We practice the week's assigned vocabulary every morning to prep for Friday spelling tests, but when he gets his tests back, his scores are often 10/20, 12/20, maybe 13/20. But Mason said that he wasn't bothered by his low spelling grades because he didn't really like to read anyway.
Well, I was on my way to the library to pick up some books I had on hold and I resolved to find something that Mason would like to read. In the graphic novels section I picked up some Marvel books, a retelling of Tom Sawyer, and Smash. Now here's what I like about Smash, for a boy like Mason, who says he doesn't care about reading, and struggles with 1st-grade vocabulary: The protagonist is his age, the premise of small kid as super hero is immediately sympathetic, the dialog text is easily legible, the vocabulary is easy to grasp through context but not dumbed down<|fim_middle|> readings, smash, kyle bolton, smash book one, smash: trial by fire, school libraries, live reading
Blog, Events, Kids' Comics, Photos, Readings, School Visits | .
From the moment I showed Mason your book and he began to understand the characters and story, he was hooked. Even though a single page spread could take him 15 minutes to read, he was committed to learning every word. We used his enthusiasm to encourage his vocabulary list practice: if he would spell five words from his list correctly, he could read Smash until the carpool left for school. He did this for the entire month, and I'm proud to say that this morning he finished the entire book. He was so proud of his accomplishment. My husband made a list of the new words he learned as he encountered them in Smash and read them on his own.
In addition to finding that he really does like to read, Mason has also dramatically improved his spelling performance. Last Friday was the second Friday in a row that he achieved a spelling test score of 20/20. It's amazing to see the transformation in his results, but more importantly in his recognition of what he can accomplish.
Thank you for writing such an amazing book and for providing the catalyst that is changing this kid's educational direction.
Thank YOU, Dianne! In our eyes, Mason is a champion and what he achieved is on a par with anything Smash can do. Your email made our day, our week, maybe even our year. It's always gratifying to know the hard work we put into a passion project like Smash pays off in dividends with young readers.
If you want to send us your story or ask us a question (we'll answer 'em!), email us at smashcomic@gmail.com. Replies guaranteed!
January 24, 2018 /Chris Bolton
mailbag, Smash, smash: trial by fire, smash book one, kids rock, kids are awesome, kids comics, kid lit, kids graphic novels, kids books, reading, education, email, letters, learning, Mason
Readers' Mailbag, Blog, Book One, Fan Letters, Kids' Comics, Letters
Smash is ready to battle any book!
Tacoma Battle of the Books!
March 17, 2016 by Chris Bolton
We're incredibly honored that our graphic novel, SMASH: TRIAL BY FIRE, is featured in this year's Battle of the Books by the Tacoma, Washington, school district! Click here to find out more about it.
March 17, 2016 /Chris Bolton
smash, smash: trial by fire, smash book one, battle of the books, schools, tacoma, washington
Back in print... and it feels so good!
SMASH Book One Is Back In Print!
August 07, 2015 by Chris Bolton in Blog, Book One, Publishing
After selling out the first print run of our all-ages graphic novel, SMASH: Trial by Fire, we're pleased to announce that the second printing is available now! You can buy it at your favorite independent bookstore or order it online here:
And iust a reminder of how critics feel about the book:
School Library Journal:
[A]n action-packed crowd-pleaser….The full-color artwork is full of kinetic energy....Smash pays homage to the genre while adding tweaks that make it all feel fresh. This is sure to be a draw for superhero fans and reluctant readers alike.
The Horn Book:
Mixing humor with action makes for a winning combination; a vivid palette and classic comic book-style greatly enhance the graphic novel package.
2014 Children's Choice Book Awards:
The comic book art and fast-paced story hooks readers in the first of a new series.
Good Comics for Kids:
Kids and adults can enjoy this superhero title that's filled with humor, action, and art that makes it a fun ride for everyone.
100 Scope Notes blog:
There's no shortage of superhero graphic novels, but Smash: Trial by Fire is more well done than most….[I]t's full of drama, humor, and seriously thrilling action sequences. To summarize: kids are going to love it.
smash: trial by fire, smash book one, smash, book one, trial by fire, kyle bolton, Chris A. Bolton, publishing, second printing, all-ages, graphic novels, kids graphic novels, top 10 circulated graphic novels, kid lit, kids webcomics, kids comics, kids books
Blog, Book One, Publishing
SMASH Sells Out!
June 25, 2015 by Chris Bolton in Blog, Book One, Publishing
The sad news: you won't be able to order a copy of our graphic novel, SMASH: TRIAL BY FIRE, for a little while. That's because of the good news: our first printing is completely sold out!!!
Thanks for helping us sell out!
Have no fear, a 2nd printing is on the way, hopefully in August. In the meantime, you can keep reading the free weekly adventures of Smash at our webcomic: smashcomic.tumblr.com
Kyle and I wish to extend our grateful thanks to everyone who has supported SMASH and helped make it such a huge. We couldn't have sold out without your help!
June 25, 2015 /Chris Bolton
smash, graphic novels, kids graphic novels, sales, sold out, smash book one, smash: trial by fire
It's nice to share space with one of our graphic novel heroes, Bone!
SMASH Is a Top 10 Circulated Graphic Novel of 2015!
May 22, 2015 by Chris Bolton in Blog, Kids' Comics
For the second year in a row, we're honored that the School Library Journal blog 100 Scope Notes has selected our graphic novel, SMASH: TRIAL BY FIRE, as one of the Top 10 Circulated Graphic Novels of the Year!
This puts us in fine company like Bone, Amulet, Smile, Stone Rabbit, and Nathan Hale's Hazardous Tales. Thanks to Travis Jonker for checking in to find out what K-5 students are checking out.
May 22, 2015 /Chris Bolton
school libraries, elementary schools, top 10 circulated graphic novels, kids graphic novels, kids comics, kids books, kid lit, bone, amulet, smile, stone rabbit, nathan hale, smash: trial by fire, smash book one, smash
Blog, Kids' Comics
Kyle prepares to give a reading for these lucky kids.
SMASH Reading at Isaac Stevens School
April 08, 2015 by Chris Bolton in Blog, Book One, Events, Kids' Comics, Readings, School Visits
The Isaac Stevens School in Seattle.
Kyle gave another reading of our graphic novel, SMASH: Trial by Fire, for the excited kids at the Isaac Stevens School in Seattle. More than 100 elementary schoolers delighted in the adventures of our 10-year-old superhero.
To find out how to book Chris or Kyle for a reading at your school or library, click here.
April 08, 2015 /Chris Bolton
events, school readings, school libraries, Kyle Bolton, library readings, live reading, kids comics, kids graphic novels, smash, smash: trial by fire, smash book one
Blog, Book One, Events, Kids' Comics, Readings, School Visits
SMASH Reading at Gatewood Elementary
April 01, 2015 by Chris Bolton in Blog, Events, Kids' Comics, Photos, Readings, School Visits
We're pleased to present some pictures from SMASH artist Kyle Bolton's recent visit to Gatewood Elementary School in Seattle.
A gaggle of excited 4th and 5th graders watched a panel-by-panel slide show with Kyle performing voices and sound effects from SMASH, Book One: Trial by Fire. Then Kyle answered a LOT of fantastic questions from these eager readers. Huge thanks to Gatewood's super-librarian Jackie Snyder for arranging the event and taking pictures!
To find out how to book an event with Chris or Kyle at your school or library, visit our Events page.
Kyle (lurking in the shadows) finishes performing the opening scene of SMASH after the slide show.
Kyle poses with a happy young fan.
The students listen to Kyle talk about his art process.
events, school readings, library | 1,726 |
Flooring Contractors Dry Star Restoration Is Offering A Wide Range Of Services In Phoenix
Mesa, Arizona -
Dry Star Restoration is offering services such as water damage restoration, fire damage restoration, mold remediation, asbestos abatement, storm repair, sewage cleanup, cleaning, flooring, and remodeling to homeowners and businesses in Arizona.
As one of the best flooring contractors in Phoenix, the company has the experience of maintaining and installing all kinds of flooring such as hardwood, tile, stone, luxury vinyl, and carpeting. The company claims to use only the newest technology and industry-standard practices to install flooring that can stand the test of time and look beautiful at the same time. The company claims that its in-depth knowledge manifests in the precision and the care that it puts into every job site.
The company's experts will help homeowners pick the right flooring for every room of the house depending on its purpose. The company recommends tile flooring in kitchens and bathrooms as a way to combat water damage. It also recommends stone variations including travertine, limestone, marble, granite, and slate in indoor rooms such as the dining area, living room, and hallways due to their resistance to stains. The company recommends vinyl flooring and carpeting for intimate areas of the home such as offices and bedrooms.
The company also provides fire damage repairs in Phoenix through its special 6 step process that allows for the speedy recovery of the damaged area. The first step is to ensure the property is safe and to evaluate damage from smoke exposure and the corrosive potential of residue. The next step is to isolate the affected area and to prevent migration to other affected areas. Then the company implements solutions to arrest possible corrosive reactions. Next, they perform a systematic and thorough decontamination process on all equipment and structures harboring residues. In the next step of restoration, they will reinstall equipment and/or components to the property. Finally, the property will be reconditioned by conducting extensive diagnostic testing and controlled "burn-ins" of equipment as it becomes available after the restoration processing.
The company recommends customers avail of its services in the first 24 to 48 hours after the fire damage as they are the "golden hours" of recovery. This is because the acidic soot and smoke damage that is often produced when fires are extinguished accelerate the deterioration and corrosion of building components and vital assets. The company will also make sure to neutralize and deodorize the toxic smoke odor left behind.
The company also offers its expertise as remodeling contractors to homeowners or businesses that are looking<|fim_middle|>01, 2022 – Dry Star Restoration Celebrates 10 Years of Providing Water Damage Repairs in Phoenix
May 03, 2022 – Dry Star Restoration And Construction LLC Is Offering Water Damage Restoration In Scottsdale, AZ
April 05, 2022 – Dry Star Offers Professional Water Damage Restoration In Scottsdale | for an upgrade. The company is licensed, bonded, and fully insured to perform all remodeling jobs. The company is an expert at both interior and exterior remodeling. The companies services can be used by customers looking to get more functionality or improve the aesthetics of the space that they currently have. The company's services can even prove useful to increase a property's worth and to get higher returns on investment once the property is put up for sale in the market. The company claims it can fine-tune a living space for comfort while tweaking it to show off the personality of those that live in it. The company also helps with a range of outdoor remodeling projects such as pergolas, gazebos, and a variety of patio awnings.
The company is rated at an A+ from the Better Business Bureau. All of the company's technicians are IICRC certified, experienced, and maintain a professional attitude on every job site that they visit. The company was a 2018 Angie's List Super Service Award Winner. They offer free estimates and also bill directly to insurance.
The company's service areas include many regions in Arizona such as Apache Junction, Chandler, Fountain Hills, Gilbert, Glendale, Gold Canyon, Higley, Mesa, Paradise Valley, Peoria, Phoenix, Queen Creek, Rio Verde, San Tan Valley, Scottsdale, Tempe, and Tortilla Flat.
The company can be contacted at the phone number (480) 664-4264. It accepts calls 24/7 and will respond to emergencies in 90 minutes or less.
About Dry Star Restoration:
Water damage restoration services in Phoenix, Mesa, Chandler, Gilbert, Tempe, Scottsdale, Tucson and the surrounding cities. 24/7 water mitigation live calls offer service in 90 minutes or less. We offer Free estimates & direct insurance billing.
Contact Dry Star Restoration:
Richard Appel
3045 N. Norfolk, Mesa, AZ 85215
drystar@drystaraz.com
https://www.drystaraz.com/
Additional News Releases From Dry Star Restoration:
January 09, 2023 – Dry Star Restoration Explains the Benefits of Prompt Water Damage Restoration in Phoenix
December 07, 2022 – Local Company Realizes a Fast Response is the Key for Proper Water Damage Restoration in Phoenix
October 27, 2022 – Emergency Water Damage Contractors in Phoenix Earn Another Five Star Review
October 11, 2022 – Dry Star Restoration Offers Water Damage Repairs In Phoenix
August 31, 2022 – Water Damage Contractors in Phoenix Gets Another Highly Positive Review
August 23, 2022 – Arizona Restoration Company Advises Never to Put Off Water Damage Repairs in Phoenix
June 22, 2022 – Company Offering Water Damage Repairs in Phoenix Earns Another Five Star Review
June | 612 |
Poland consolidates its growth trend in patent filings with the EPO
Post date 6 March 2014
Patent filings at the European Patent Office (EPO) grew again in 2013, reaching a new record level. Companies from Poland filed 510 patents, slightly less than in 2012 (527), but an increase of 81% over the past five years. The number of granted patents grew by 19% from 80 to 95 and has almost tripled since 2009.
"Demand for patent protection in Europe is up for the fourth consecutive year," said EPO President Benoît Battistelli. "This growth is proof that companies from around the world continue to see Europe more and more as a premier hub of innovation. The strong position of European companies in patent-intense technologies once more underlines the central role of these sectors for employment and growth in the EU economy."
Akademia Gorniczo-Hutnicza, Instytut Technologii Eksploatacji, Politechnika Lodzka among top patent applicants
Patent filings at the EPO from Poland showed a strong growth in Special machinery (from 3% to 7% of all Polish patent applications) and Biotechnology (from 2% to 6%). The five leading fields of technology were Special machinery, Civil engineering, Biotechnology, Measurement, and Mechanical elements.
In terms of relative specialisation, Polish industry held a strong position in Thermal processes, Food chemistry, Materials metallurgy, Special machinery, Mechanical elements and Furniture.
IMT International Tobacco Machinery was Poland's top patent applicant at the EPO with 20 applications. This was followed by Akademia Gorn<|fim_middle|>za as the 2nd largest patent applicant in Poland, Instytut Technologii Eksploatacji No. 3, and Politechnika Lodzka No. 7, two universities and a research institute stood out among Polish applicants in 2013.
Patent filings and grants on the rise
In total the EPO received 266 000 patent filings last year, 2.8% more than in 2012 and a new all-time high. The US and Japan again had the bulk of filings, while China (+16.2%) and South Korea (+14%) once more claimed the lion's share of the growth. Filings from Europe remained stable overall, with some countries such as the Netherlands (+17.2%), Ireland (+9.4%) and Sweden (+7.5%) making gains, and others slowing including Poland (-3.2%), Belgium (-7.4%), Germany (-5.4%), the UK (-3%), Italy (-2.7%) and Switzerland (-2%). Filings from the US (+2.8%) and Japan (+1.2%) grew moderately, albeit from very high levels.
The EPO granted 66 700 European patents last year, an increase of 1.6% over 2012 and the highest number ever. In total, 95 patents were granted to Polish companies, an increase of 19% over last year, and almost three times as many as in 2009 (33).
Five European companies in top ten, Samsung in the lead
The list of top filing companies at the EPOwas again headed by Samsung (2 833 applications), followed by Siemens (1 974) and Philips (1 839). With BASF (5th), Robert Bosch (6th) and Ericsson (10th), three more European companies were among the top ten, well ahead of Asia with three companies, and the US with two.
Last year approximately 65.5% of the applicants at the EPO were large companies, 29% were SMEs and individual inventors, and 5.5% universities and public research institutes.
More information: www.epo.org
← 'Smart' windows to cut energy use by 20% → Remunera enters Japan as its first opportunity in Asia | iczo-Hutnicza, Instytut Technologii Eksploatacji, Telekomunikacja Polska and Adamed rounding out the top five.
With Akademia Gorniczo-Hutnic | 45 |
Advanced Connectivity, Exceptional Service
iTel is More Than You Ever Thought Possible of a Business ISP
Business Communications Solutions – Across North America
At iTel, we know that business is changing quickly. Your operations span multiple sites and more employees are working remotely – while expectations are only getting higher. Communication between your colleagues, partners, and clients is critical to your success.
With more technology to empower collaboration than ever, a fast, reliable network is the backbone of your success. iTel Networks has the dedicated internet, advanced voice technology, cloud connectivity, SD-WAN and more. Get it all bundled into one custom package and supported with a best-in-class SLA.
The iTel Advantage
We partner with all the major carriers for unparalleled coverage across North America. You get all the advantages of the big names paired with the personal, responsive customer service of a local business. We're proud that our average hold time is under a minute and our MTTR is 4 hours.
Combining our extensive footprint with cutting edge technology and the best SLA's, we build seamless solutions that streamline your network. You only have to remember one support number and pay one bill – for your entire infrastructure.
Who is iTel?
Incorporated: 2009
Technology: Unrivalled infrastructure connecting North America.
Data Centres: 10
iTel Networks Inc. is a converged network company with the largest business internet and voice footprint in Canada. By harnessing the power of multiple carriers and the best technology, we create affordable network solutions for businesses in even the most remote locations across the country. Based entirely in Canada, we provide a quality of support that is unmatched in the telecom industry. We're committed to being at the cutting edge of innovation to ensure our customers are getting the best solutions possible.
Our mission is to be the most sought after and trusted business communications network in Canada.
Lori Appleton, PresidentYellowsheet Construction
Steve Klassen, IT ManagerDouglas Lake Equipment Ltd
Brendan Ralfe, IT ManagerMerchant Law Group LLP
In 2016, Jeff Mulligan, COO of Astec Safety Inc., and his partners acquired an ailing company with a negative net worth that was ready to close its doors. However, it had a strong customer base and an excellent suite of products, so they knew there was an opportunity to turn things around if they could modernize their systems, improve vendor relations and cut costs – especially their telecommunication costs. With current contracts expiring soon, they were in a tight spot.
Read our feature in the Globe & Mail
Find us at #195 on the complete list and #24 for IT companies
Dan Rink has a proven track record of building and growing innovative technology companies, founding over five technology companies over the past 15 years. Currently, he leads iTel Networks, where he has served as the Chief Executive Officer since 2007. Dan also co-founded the technology accelerator Kamloops Innovation in 2013 and continues to serve as a board-member. He acts as<|fim_middle|> in the Globe and Mail's list of Canada's Top Growing Companies
BlogNetworkSD-WAN
SD-WAN: The Answer to Connectivity Issues
iTel Networks ranks in top half of Canadian Business Magazine's Growth 500 list
BlogManaged Services
5 Ways Managed Services Accelerate IT Value
iTel Networks in the top third of fastest growing companies in BC | an executive in residence at Purppl, and was part of the advisory board for the formation and funding of the Thompson Rivers University Computer Engineering degree program.
With over 15 years of experience in the telecommunication industry, Adrian Boros leads the Engineering, Hardware Provisioning and NOC teams at iTel. Adrian has previously steered engineering and technical solution designs on cross-country MPLS, Fiber and Broadband solutions for large multi distributed enterprise customers (ranging from 50 to over 2000 cross-Canada locations).
With over 13 years in the telecom industry, Kelly Pritchard is an experienced business, sales, and marketing professional. She is known for being a high energy leader with a passion for people, technology, sales, and marketing. Prior to joining iTel in 2016, Kelly worked at Shaw Communications in a variety of sales and leadership positions. Kelly believes in continual development and, after completing her Bachelor of Management degree in 2002, has received certification in Project Management (2013) and Social Media Marketing (2016). Most recently, she became a CIO Certified Blockchain Professional (2018).
BlogNewsPress Release
iTel Networks Ranked Among the Fastest Growing Companies in North America on Deloitte's 2019 Technology Fast 500™
BlogBroadbandBusiness InternetNewsPress Release
iTel Networks and Comcast Business partner to power up a cross-border broadband footprint
BlogBusiness InternetCase StudyFibreManaged ServicesPhone Systems
Case Study – Astec Safety
BlogNetwork
5 Benefits of Network Visibility
iTel Networks | 335 |
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