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Abraham Lincoln said that you can fool some of the people all of the time, all of the people some of the time, but you can't fool all of the people all of the time. His aphorism lets us know that while the emes can be successfully suppressed and subverted beyond recognition, it can't be entirely eradicated.
This observation has stood the test of time for over one hundred and fifty years, despite the Left's best efforts to prove it wrong, because it speaks to that spark of emes that is embedded in every human being, and as such it is very much connected to Rosh HaShana.
A person can spend his entire existence in a society like the old Soviet Union, in which emes and sheker have been inverted. In such a place every word in the media, everything taught in the schools, every pronouncement of the government, and every societal value are all sheker. And yet, if a shtick emes, in whatever form, creeps in from the outside world, be it even once in a lifetime, it will more likely than not be recognized for what it is.
Such is the power of emes.
One can "successfully" run from the emes most of the year but not the whole year, because when the month of Elul comes a knocking at his door, a rational individual understands intuitively that he can no longer hide. After all, with the Sifrei Chaim and Sifrei Mahves opened to his page, where exactly would he seek shelter?
Shiras Devorah, after reprising the death of the Canaanite general, Sisera, by the hand of Yael, then shifts to the image of Sisera's mother waiting for Sisera to return home from the battle. In the course of her vigil she gives out one hundred cries, and Tosfos in Mesechta Rosh Hashana quotes the Chazal that says that we blow one hundred kolos (sounds) with the shofar on Rosh HaShana for those one hundred cries:
Through the window she gazed; Sisera's mother peered through the window. "Why is his chariot delayed in coming? Why are the hoofbeats of his carriages so late?" The wisest of her ladies answer her, and she, too, offers herself responses. "Are they not finding [and] dividing the loot? A comely [captive], two comely [captives], for every man; booty of colored garments for Sisera, booty of colored embroidery, colored, doubly embroidered garments for the necks of the looters."
These possukim reveal to us that Sisera's mother is worried about her son's fate, but that her friends and she herself make up excuses to explain away the delay of Sisera's return.
Finally the truth sinks in that Sisera is not coming home.
Rabbi Shalom Rosner tells us that Rosh HaShana is about when all of the rationales in our life fall away and the emes hits us in the face. We start out with all kinds of excuses: I can't do this or that, I'm too busy, this is not who I really am, this is not my derech etc. We can pretty much fool ourselves most of the time, but not all of the time. Especially not this time of the year.
We're all looking out the "window" to a wishful thinking world of our own creation until, poof, we finally see ourselves, and at that point all our excuses dissipate like the morning mist and all that's left is the emes.


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How to Join the Foundation Crochet Stitches - Crochet Tip 34
Video Tutorial: How to Join the Foundation Single Crochet
How to connect the Foundation Crochet Stitches in to a circle and join them.
- Slip stitch your ending Foundation Stitch to the top of the beginning Foundation Stitch. This technique will be the same a joining a round.
- Wrap the yarn over your crochet hook and pull through both loops.
- Get your tapestry needle and join the bottom of the beginning stitch and the ending stitch, using the tail to connect the two ends together.
- You have completed your connection.

subset: commoncrawl


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Congratulations if you are one of those people who have been dating since you hit puberty because for the rest of us articles like this one that you are about to read and many others just like this one are designed to help make this process a bit easier to bring together. I can tell you a huge amount of my anxiety comes from what I am physically going to put on my body but another pressing issue that I know a lot of us just don't consider is what the heck you and you date are going to do once you leave your apartment and meet up… Yes you are going to eat but the dinner and the movie as like an actual activity is so over literally it is not special any more I can tell you that I have been on more " Friendates/ Mom/Daugther Dates" than I can to admit in this post. But regardless of you Datexpertise i got and we are here to hook you up in a big way!
So if you are a city girl like me and only use cars or car service apps for pick ups and drop off why not upgrade you game and rent a car for the evening or even the weekend with this amazing new service called Turo here is how this amazing service works you download the app and it gives you the option of renting a vehicle or listing a vehicle and if you dont want to pick the vehicle up the vehicle can be delivered to you. Amazing Right! Turo has car sharing down to a science so all you have to do is drive away in style and not have to worry about insurance or going to some god awful rental place….ewww… and if that wasnt a great enough selling point for you as someone who lives in a large city if you can get past the stigma of not being able to find parking the fact that you can meet up with the driver and exchange info so it feels more personal like borrowing a car from your best friends sisters aunt.
So you got your amaazing ride that is getting dropped off within the next few hours what is a girl to do while she waits ? Well i dont know about you but every night must be the continuation of a perfect day and what day could be more perfect than heading over to a Tribeca classic Bubbys located on Hudson st it is lowkey for everyone that is not in the mood to get elbowed in the face at Mc Donalds but cheap enough that I dont look for a hole at the bottom of my wallet after I get up to leave. If every you are in the neighborhood grab a Salmon Bagel with Cream Cheese they are my everything! So bagel in hand and coffee in the other I catch an up town train to my favorite hair salon in NYC for a touch up and a color/cut my girl always hooks me up now believe it or not five hours have past yeah and I have less than an three hours to go find a chic but affordable date night outfit well I could head over to a retail giant and give them all of my money or I can hit up one of my favorite spots Buffalo Exchange where I can literally trade the clothes off my back for an almost new designer cast off….amen so after trying on outfits I know I am not going to buy #SorryNotSorry i have an hour and a half left to head back downtown throw my outfit on and head out on my hopefully this wont be too arkward for you as well date.
So I know you are ready for some options I have put together now that you are dressed and ready to go out so here are some not so hum drum date night ideas for you and your potential new bf….
Why not head over to the Film Forum for a vintage movie watching experience and end your night at a speakeasy like the Blind Baker in Bklyn and enjoy some drinks and apps
or if you are feeling a bit more adventurous you can head over to MoSex and check out one of the more racy exhibits before finishing your night off at Mystery Room NYC for some unorthodox fun…
How ever you decide to spend your night make sure Turo takes you there.
Home page: https://turo.com/


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Tell Congress: Don't let Rex Tillerson sell lethal weapons to human rights abusers
The United States is responsible for the production and sale of more deadly weapons and military tools than any other country in the world.1
During the Obama administration, there were limits to which countries the United States would arm. Now, Secretary of State Rex Tillerson is taking those fragile buffers away. Last month he lifted all human rights preconditions on a major sale of fighter jets and other lethal weapons to Bahrain.2 By removing these preconditions, he is sending a clear message to Bahrain and every other country: As long as foreign governments give the United States money, the Trump administration will turn a blind eye to those governments' acts of torture, genocide or oppression, or any blatant human rights abuses and supply them with weapons of war.
Congress has the power to stop this. Section 36(b) of the Arms Export Control Act says that Congress has the power and authority to pass legislation to block or modify an arms sale at any time up until the weapons are delivered into foreign hands.3 It can block the sale that Tillerson is trying to broker right now with Bahrain and pass laws that condition our future arms sales so that we never sell weapons to human rights abusers again. We have to put pressure on our legislature to make sure they take action.4
Tell Congress: Don't let Tillerson sell weapons to human rights abusers. Block the arms sale to Bahrain and pass a law to make sure this never happens again.
Amnesty International has described the human rights situation in Bahrain as being "on the brink of crisis."5 The government has not allowed representatives from human rights watchdog groups to access the country, but even without direct access groups like Amnesty and Human Rights Watch have reported on the police and court investigators torturing detained people,6 Bahranians being stripped of their citizenship and nationality,7 and travel bans being placed on citizens who are critical of authorities human rights abuses.8
Human rights groups and activists have long criticized U.S. arms sales to other countries with known human rights abuses, including outcry that helped block a sale of precision missiles to Saudi Arabia last winter in an attempt to address the horrific Yemeni casualties coming out of the conflict between the two countries.9 Saudi Arabia remains one of the most frequent customers of American weaponry, and Tillerson has indicated that he will be moving ahead with selling them missiles.10
These decisions are a reflection of what we have known about Tillerson from the beginning. He is a billionaire who cares more about lining his pockets than about protecting people or the planet. Tillerson's confirmation hearing was awash with red flags concerning his willingness to turn a blind eye to human rights abuses. He refused to call Vladimir Putin a war criminal for his involvement in Aleppo,11 denied that Philippines president Rodrigo Duterte is a human rights violator,12 and dismissed the unequal and oppressive treatment of many women in Saudi Arabia.13
It is up to Congress to rein him in and make sure that we stop giving human rights abusers the tools they need to kill.
Tell Congress: Don't let Tillerson make arms sales to human rights abusers. Block this sale to Bahrain and pass a law to make sure this never happens again.
Thank you for standing up for peace.
1. Andrew Soergel, "America's Arms Exports Dominate Despite Global Competition," U.S. News & World Report, Dec. 27, 2016.
2. Felicia Schwartz and Doug Cameron, "Tillerson Dropping Human Rights Conditions on Sale of F-16s to Bahrain," The Wall Street Journal, March 30, 2017.
3. Defense Security Cooperation Agency, "Arms Sales: Congressional Review Process," accessed April 27, 2017.
4. Human Rights First, "Congress Urged to Check Administration's Actions, Block Sale of F-16s to Bahrain," March 30, 2017.
5. Amnesty International, "Bahrain: Human rights on the brink of crisis," Jan. 18, 2017.
6. Ibid.
7. Ibid.
8. Ibid.
9. Helene Cooper, "U.S. Blocks Arms Sale to Saudi Arabia Amid Concerns Over Yemen War," The New York Times, Dec. 13, 2016.
10. David E. Sanger and Eric Schmitt, "Rex Tillerson to Lift Human Rights Conditions on Arms Sale to Bahrain," The New York Times, March 29, 2017.
11. David Bixenspan, "Rex Tillerson Refuses to Call Vladimir Putin a 'War Criminal' During Hearing," Mediaite, Jan. 11, 2017.
12. Jessica Taylor, "5 Top Moments From Rex Tillerson's Hearing To Be Secretary Of State," NPR, Jan. 11, 2017.
13. Ibid.


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Vocalist with Iconic Band The Hollies
A very special evening with The Hollies vocalist Peter Howarth in the intimacy of the Crooked Billet. Peter, his guitar, all The Hollies hits, peppered with other favourite songs from an incredible career.
Although Peter is lead vocalist with The Hollies, he has also worked with The Who on 'Quadrophenia', 10cc & spent two decades singing, touring & recording with the legendary Sir Cliff Richard.
Peter has also had a successful career in the West End – playing guitar in 'Joseph and The Amazing Technicolour Dreamcoat', writing & starring in the musical 'Robin Prince of Sherwood' & playing Roy Orbison in the 'Roy Orbison Story' & 'Four Steps to Heaven.'


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2.2 million and growing cardholder base.
Filipino Maybank cardholders are now part of this following the launching of the Maybank Credit Card product.
MPI rolled out its quality merchant network months ahead of the credit card issuing business. The acquiring business network continues to increase locally, to bring cardholders added value through merchant benefits.
They will enjoy Maybank's award-winning ASEAN Treats loyalty programme and enjoy the convenience of Maybank's regional banking network in the months to come.
"The launch marks a part of a journey of 15 years for Maybank Philippines. MPI has grown and evolved into a stronger, and more dynamic bank," PCEO Herminio Famatigan said.
"By the end of the year, we would have integrated all our business and support units to the Maybank Corporate Center at Bonifacio Global City," he added.
The credit cards are available in Classic, Gold and Platinum, MasterCard and VISA variants which aim to provide financial flexibility to customers.
For more.
Do you know more about this story? Contact us anonymously through this link.
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No jobs posted.


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Usually when you take a programming class, you start with something like the following. Go ahead. Write it out and run it.
int main() {
printf("Hello World!");
This just tells the computer to print Hello Word! on the screen.* I, however, decided to save this for much later, because we are programming robots and want them to do stuff! There does come a point when we want to have something printed to the screen. For example, if we have a program that requires us to use the virtual buttons to control the robot or change a parameter, we want the robot to print reminders and instructions so that we know what to do. Most importantly, printed display is an invaluable aid in running performance & reliability tests on your robot. The command that causes the robot to print, or display text to its screen, is the printf() command. Try out this program:
int main() { int sp=750; // speed of motor int time=2500 //time for running motor, in milliseconds printf("Press 'A' to continue: motor speed is %d \n",sp); /* the %d is a place holder for the integer value of the variable sp */ while(!a_button()) //while A_button is not pressed {} // empty while loop keeps robot waiting for A button. mav(0,sp); mav(3,sp); msleep(time); ao(); printf("The motor ran for %d milliseconds.",time); /* the %d is a place holder for the integer value of the variable 'time'. */ }
When you run it or simulate it, you'll get the robot asking you to press the A button, tells you how fast the motors will go, and then it will wait for you to push the a button. Then it will move forward at the reported speed. When it stops, it will tell you how long it went for. If you want to calibrate the speed in linear distance/sec, rather than tics/sec, just measure the distance moved and divide by 2.5 sec.
If you want to have the controller read out levels as you adjust them, it's convenient to use a special printing function to display a few lines at the same spot, for the CBC the command is: cbc_printf(x,y,"text"). For the Link or Wallaby controllers it is: display_printf(x,y,"text")
Write and run the following code for testing your CBC-controlled robot:
/*This program prints instructions for testing behavior of a CBC-controlled robot, and provides feedback as to speed level before the robot is run for 2 seconds, then allows further adjustment*/ int main() { int velocity=0, p=0;// declare variables cbc_display_clear(); //prepares display memory [for Links: display_clear()] //print instructions cbc_printf(0,0,"Use the up & down arrow keys "); cbc_printf(0,1,"to adjust velocity.(- is rev)"); cbc_printf(0,2,"Press A to go!"); while(1){ while(!a_button()) //adjust velocity until A button is pressed { if(p){cbc_printf(2,5,"Velocity: %d ",velocity); p=0;} //print changes if(up_button()) {velocity=velocity+50; p=1;} if(down_button()) {velocity=velocity-50; p=1;} if(velocity>1000) velocity=1000; //max forward speed if(velocity<-1000) velocity=-1000; //min reverse speed msleep(150) ;// allow display time to print } mav(0,velocity); mav(3,velocity); msleep(2000); // set time to move ao(); // turn off motors } // end repeat loop }
Notice how the new function is used: cbc_printf(). – this tells the CBC to print something at exact coordinates (col, row) so when it loops, it rewrites over the same spot. (note spaces after %d to erase a bigger value.) To see how this looks without cbc_printf(), change the cbc_printf() in the program to printf() [with no position numbers] and see how crazy the display gets when you run it. Adding a 'n ' at the end of the text lines will start a new line and make it more readable. Be careful with line length using cbc_printf, it cuts off any characters beyond 28. Also, be warned that running the cbc_printf() in a loop for more than 5 minutes can cause the operating system to crash (thus we've added a 'p' flag to limit the print cycles). Note that for the Link controller or the Wallaby (2016-17+) and using the KISS IDE v. 4 or higher the function names have changed: "display_printf" is substituted for "cbc_printf" for printing at a row & column, and "display_clear" for "cbc_display_clear" Furthermore, instead of arrow keys, the console has three soft keys which can be labeled with up to 12 arbitrary text characters each. (with three optional soft keys designated 'x', 'y', & 'z'). The new function set for doing this takes the form "set_name_button_text("text") where name is 'a', 'b', or 'c', etc. In addition, the Link code uses only "msleep" for a time delay function. Furthermore, the max velocity has increased, and, to avoid putting display_printf in a loop, the coding has been revised in a different way. Thus, for Link or Wallaby code we have the following example:
/*This program prints instructions and shows velocity for testing behavior on a Link or Wallaby-controlled robot, and allows adjustment of the speed (note higher max/min) before the robot is run for 2 seconds, then allows further adjustment 2/25/14*/ int main() { int velocity=0;// declare variable set_b_button_text("Up"); set_c_button_text("Down"); display_clear(); //prepares display memory //print instructions display_printf(0,0,"Use the up & down keys "); display_printf(0,1,"to adjust velocity.(- is rev)"); display_printf(0,2,"Press A to go!"); while(1){ while(!a_button()) //adjust velocity until A button is pressed { if(b_button() || c_button()){ if(b_button()) velocity=velocity+50; if(c_button()) velocity=velocity-50; if(velocity>1500) velocity=1500; //max forward speed if(velocity<-1500) velocity=-1500; //min reverse speed display_printf(2,5,"Velocity: %d ",velocity); msleep(150) ;// allow display time to print } } mav(0,velocity); mav(3,velocity); msleep(2000); ao(); // turn off motors } // end repeat loop }
*Assignment to play with Hello World and to extend Link bot tests – click the big, red A.


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Reviewed by Drew L. (age 11)
I thought The Long Patrol was great. It was action-packed and intriguing. My favorite character was Mige Manycoats. He was a master of spying and disguise. That's how he got into the vermin camp. In the beginning of the book, Tammo the hare is troublesome and irresponsible. After the war, he is wise and responsible. It is part of a series called Redwall. It is similar to the other books because it shows the main character maturing and becoming a great warrior.
I recommend this book for kids 9 and older. There are some funny parts but it is somewhat violent. It has a good plot of good vs. evil. There are many unique characters in the book. To find out more, read the action-packed, exciting book, The Long Patrol!


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Enabling you to identify and mitigate the intrinsic risk in your operations, supply chains and business processes.
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Evaluating how your products and services meet and exceed quality, safety, sustainability and performance standards.
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Validating the specifications, value and safety of your raw materials, products and assets.
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Formally confirming that your products and services meet all trusted external and internal standards.
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Our offshore feasibility analysis helps you determine the viability of your project by analysing risk factors and how they affect your project's outcome
A feasibility analysis is an important part of early-stage planning of offshore infrastructure projects. These assessments are used in a variety of ways by owners and developers to answer whether or not a project is economically viable and provide an overview of primary issues that may occur during the asset's lifecycle. Some of the risk factors that a feasibility analysis helps explore include safety, technical, environmental, regulatory, economic and legal issues.
Intertek's offshore feasibility analysis ensures that all aspects of your project are fully investigated and realistically evaluated. We specialise in providing Total Quality Assurance feasibility assessments that support our clients involved in a wide range of industries including wind, wave and tidal energy as well as subsea power cable for power transmission and distribution. We combine expert understanding of local and regional issues with technical intelligence of marine environmental conditions to help our clients better understand project risks, reduce costs, save time and optimise efficiency.
Our offshore feasibility analysis provides our clients with valuable information during the design phase that addresses issues regarding employee safety, environmental impact and regulatory compliance. Intertek provides marine energy developers with data and information concerning weather and ocean current patterns to establish ideal locations to place their assets. We're also experienced with performing desktop studies for subsea power cable route assessments. Intertek assesses marine survey records to help our clients better understand the seabed and sea state conditions of potential route corridors.
We also help our clients navigate the consenting and permitting process alongside design and procurement activity. We assist with regulatory issues that may develop if the cable route crosses multiple country boundaries. Intertek's robust permitting process seamlessly aligns with existing development programs and complements the parallel approval process of other consent requirements.
Intertek also provides technical due diligence services to assist customers that are considering purchasing power transmission distribution units that are already in operation. We present an independent overview of the state of the asset prior to offer and help you better understand the potential risks of ownership and operation of offshore assets.
Our offshore feasibility analysis services also include:
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What our Customers Think
Here are a just a few of the lovely messages we have received from our satisfied customers, we are more than happy to show you further recommendations at our first meeting.
Right from the start Phoenix Jewellery impressed us with their friendly and professional manner. An approach that not only inspired us but produced the most amazing engagement ring and wedding bands!
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Great people, brilliant service! I knew i was in safe hands straight away. My fiance absolutely loves the ring and wouldn't have it any other way.
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I was actually recommended by a friend to Phoenix Jewellery. They were totally on the same wavelength as us when designing the ring. Very knowledgeable and helpful in selecting the diamonds. Overall we are delighted with the finished article.
Shai & Rita Shah, London
Phoenix Jewellery genuinely care about their customers and the level of service they provide. A truly enjoyable experience from start to finish. The rings were just perfect. Thank you!
John & Heidi Hunt, Leicestershire


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This aromatic risotto is a beautiful shade of yellow thanks to the saffron threads in the mix.
Featured in Nutrition information, Risotto recipes
- 1L (4 cups) Massel chicken style liquid stock
- 1/2 teaspoon saffron threads
- 20g butter
- 1 tablespoon olive oil
- 1 brown onion, halved, finely chopped
- 2 garlic cloves, crushed
- 330g (1 1/2 cups) arborio rice
- 125ml (1/2 cup) dry white wine
- 20g (1/4 cup) finely grated parmesan
- Salt & freshly ground black pepper
- Shaved parmesan, to serve
- Crusty bread, to serve
Step 1Combine the stock and saffron in a medium saucepan over high heat. Bring just to the boil. Reduce heat and hold at a gentle simmer.
Step 2Heat butter and oil in a heavy-based saucepan over medium heat. Add the onion and garlic and cook, stirring, for 5 minutes or until soft and translucent. Add rice and stir for 1 minute or until grains appear slightly glassy. Add wine and cook, stirring constantly, until liquid is completely absorbed. Add a ladleful (about 125ml/1/2 cup) of simmering stock and stir until completely absorbed. Continue to add the stock, a ladleful at a time, stirring constantly and allowing the liquid to be absorbed before adding the next ladleful. Cook for 20 minutes or until the rice is tender yet firm to the bite and the risotto is creamy. Remove from heat. Stir in the grated parmesan. Taste and season with salt and pepper.
Step 3Divide risotto among serving bowls. Sprinkle with shaved parmesan and serve with crusty bread.
1796 kj
Fat Total
Saturated Fat
Carbs (total)
All nutrition values are per serve


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At a Battle of the Bands event, Ace and his best friend Denny notice that girls like musicians, no matter how dorky the dudes might be. Having, so far, been severely challenged when it comes to meeting girls, they decide to start a band. Ace discovers that he loves playing guitar and electric bass. While Denny tweets their every move and their clean-freak drummer, Pig, polishes everything in sight, Ace tries to write a song that will win at the next local teen songwriting contest. It's more difficult than he thought it would be. When Denny brings a great tune to rehearsal, Ace is devastated that Denny, who rarely practices, is a better songwriter than he is. The contest is only days away when Ace discovers that Denny stole the song, and Ace has to decide if winning is worth the lie.
Maddie has big-city dreams, and this summer she's found her chance to visit New York. An art magazine is holding a portrait painting contest, and the first prize is an all-expenses-paid trip to the Big Apple. Maddie plans to win, but her mother has different plans for her: a mother-daughter adventure in organic farming. Maddie is furious. How will she find an inspiring subject for her portrait amid the goat poop and chickens? And worse, her new age mother's attempts at pig reiki are an embarrassment. But Maddie befriends the farmer's daughter, Anna, and between dodging her mother and doing her chores, she finds the perfect subject for the portrait contest.
Brielle and Tawni have played cello side by side in orchestras since they were nine years old. Brielle has always played second chair to Tawnis first, and she's been happy with that arrangement. When Tawni is injured, Brielle suddenly finds herself principal cellist. Not only does that mean she'll be thrust into the spotlight, but it also means she is now leader of the cello section. Brielle is terrified. Is she good enough? Will the other musicians accept her? What if she screws up? Despite her fears, Brielle rises to the occasion. Her cello skills, and her leadership skills, improve as she grows into her new role. But just as Brielle is beginning to feel confident, Tawni returns. And she wants her job back. If Brielle steps down now, she'll lose her place in the spotlight. If she doesn't, her friendship could be in jeopardy.
Hailey McEwan has many interests soccer, field hockey, animation. She'd probably never have started singing if her best friend, Crissy, hadn't persuaded her to take singing lessons and join her choir. No one had any idea that Hailey would be such a natural, least of all Hailey herself. A shared love of music from pop to opera has been a big part of the girls' friendship, but when the two face off in a competition for a role in a production of The Marriage of Figaro, their closeness turns into a bitter rivalry. Hailey will have to make a tough decision. Is opera as important to her as it is to Crissy? And is landing a role worth losing her best friend?
Seven-year-old Leland has trouble writing, but he loves drawing. He so dislikes his teacher that he conjures up Delilah, an imaginary seeing-eye dog to help him into class each day. When a neighborhood painter recognizes Leland's gifts as an artist, Leland grows more confident about the world as he uniquely sees it. And when his family's cat goes missing, it is Leland's keen observation skills that lead to finding him. Leland's newfound confidence helps him both confront and sympathize with his teacher, who only wishes Leland could be a bit more focused.
Friends are not always for keeps. Kate and Jake have always been best friends; always, that is, until Jake's cousin, Lionel, moves nearby and Jake starts spending time with him instead. Kate struggles with his abandonment and her own loneliness as she seeks new friends that share her likes and dislikes. And, perhaps there is a place in her life for her old best friend after all.
Kate wants to enter the spelling bee, but she doesn't want to compete against her best friend. Kate is determined to win her spelling club's spelling bee, but the competition is fierce. She can almost put up with Violet's relentless claims of superior spelling ability, but when Kate and Jake begin to fight with each other, Kate is miserable. She wants to win the contest, but she doesn't want to lose her best friend.


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Lotame is proud to share some amazing news: our data management platform has just been…
We already knew it to be true, but now we've got one more award to add to our roster. Lotame has been certified as a Great Place to Work in 2017 by the Great Places to Work Institute! In fact, 96% of Lotame employees agree that Lotame is a great place to work!
Here are some of the programs we have in place that make Lotame a great place to work!
Sounds pretty great, doesn't it? Well, if you're looking to join our team, here are some tips:
What can prospective employees do to get your attention?
We are suckers for creative applicants. Some creative things we have seen include shooting a 2-3 minute video and sending it to our team – that's a quick way to get our attention! We also love any applicant that comes prepared with something to contribute right off the bat. For example, someone in marketing can suggest a new idea for building our brand. Anyone who has done that much research is a step ahead of the competition as they are ready to hit the ground running.
Are there any positions or types of candidates you are particularly focused on hiring in this coming year?
Next year we are focused on engineers/tech and product managers.
What should interested candidates do to find out more and get started?
Do some research online, dig as much as you can to find out about Lotame. We're always looking for data rockstars and are ready to hear from you. Learn more about our current openings here and send your resume to firstname.lastname@example.com when you're ready to chat!
Read more about why Lotame is a great place to work on our Facebook page, on the "About our Workplace" tab!


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Even for black law enforcement officers, it can often be hard to see through the societal gaze and be sympathetic toward the public they serve
The description of the events that led to Gray's death highlighted the lack of empathy many people have for poor black communities and their residents, even other black people. There were six different officers implicated in Freddie Gray's death, three of whom are black and one is a woman. At the time, the police commissioner was a black man, the mayor was a black woman and over half of the police department was composed of black officers.
This is significant because unlike Ferguson and many other places that have seen incidents of police brutality, the balance of political power (but not economic resources) and law enforcement is in the hands of black people.
The trial, then, underscores the need for officers to spend time in the vulnerable communities they police doing activities not related to police work, as well as time communicating with the public. What many lack after years of receiving calls is empathy for the residents, which is also a function of racism, classism and white supremacy.
Officers often begin to view the communities they serve by the socially engineered pathology and white supremacist, capitalist-nurtured dysfunction in which they live. Porter and the other officers' racial backgrounds are irrelevant.
The dehumanizing assumptions made about Gray, based on what he looked like and where he lived, and which led to him being chased in the first place, are of the utmost importance. Only in poor communities, can "eye contact" or running through your own neighborhood be considered probable cause for a search.
Even for people who come from similar backgrounds, it becomes hard to see through the societal gaze and see humanity. I suspect this is why media outlets, both conservative and liberal cheered when they saw "Baltimore mom" Toya Graham repeatedly punch and slap her son in the head.
They didn't think of the young man as a person, who could be reasoned with. I refuse to judge Ms Graham's actions, as she was just taking desperate measures to keep her son safe, and has endured challenges many of us probably can't fathom. However, I doubt she would have been hailed as the "hero mom" had she hugged her young black son rather than hit him.
New police commissioner Kevin Davis is working tirelessly to improve police-community relations and create a culturally sensitive environment within the Baltimore police department. He is implementing a program to that end, which will teach officers about Baltimore's "immigrant communities, churches, segregation, the port and the history of the police department".
The officers may attend lectures on African-American history at the Reginald F Lewis Museum. While some think simply recruiting officers of color will change things, Baltimore has forced everyone to recognize that the media racial narrative of the white cop abusing his power in a black community is far too unsophisticated.
Davis is mandating officers get out of their cars and actually interact with the communities they police, but with proper training on how to do so. Commissioner Davis is white and gaining popularity with the community leaders and activists in Baltimore, more than his predecessor, who was black. Davis's desire to "change mindsets" of law enforcement officials in the city is admirable, but it is an uphill battle, after years of poor relations.
Whether William Porter's actions – or lack thereof – were criminally negligent is still up in the air after his case ended in a mistrial. But we know Freddie Gray was victimized by far more than just the police.
He was a victim of the inadequate housing for the impoverished residents of Baltimore; housing that resulted in him having elevated levels of lead in his bloodstream. He was a victim of poor schools that push black children out on to the streets. He was a victim of the widespread unemployment rates that plague inner-city Baltimore.
Yet, the rightwing media insist it was his own fault and argued that the frustrations of the people involved in the protests and unrest, which were carried out in the spring without a single fatality, were due to their own depravity and lack of decency.
The liberal media want us to believe that the deaths of black people across the nation are the actions of a few rogue, racist white cops. William Porter's face, as black as that of Freddie Gray, should cause the media to reckon with their shortsightedness. His moves were obviously not motivated by hatred of black people. However, they could definitely be seen as callous.
The worst part is that, in West Baltimore and cities with poor black communities across the nation, the treatment Freddie Gray received was normal. William Porter may never be found culpable of a crime, but if Baltimore explodes again, consider it a guilty verdict on behalf of the people placed on the entire system.
Jason Nichols is an academic and artist with a range of interests, which include black masculinities, hip-hop music and dance, bullying amongst emerging adults, and black and Latino identities and relations. He is a full-time lecturer in the African American studies department at the University of Maryland College Park and the current editor-in-chief of Words Beats & Life: The Global Journal of Hip-Hop Culture, the first peer-reviewed journal of hip-hop studies. Dr Nichols is also a rap artist who raps under the moniker Haysoos and is one half of the internationally recognised rap group Wade Waters.
Copyright; Guardian News and Media Limited. Reprinted with permission.
This piece was reprinted by EmpathyEducates with permission or license. We thank the Author, Jason Nichols for his kindness, and awareness. EmpathyEducates would also like to express our appreciation for The Guardian and for its mission — being an enduring source of inspiring information and ideas.


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Credant Technologies: Making a NameBy Darrell Dunn | Posted 2007-08-14 Print
Credant offers an alternative to full-disk encryption.
Gartner tracked about two dozen vendors in its 2006 mobile data protection market evaluation. Most of those companies and their products have been introduced in the past five or six years as the need for securing data has grown. One of the vendors that emerged quickly is Credant Technologies.
Since its founding in 2001, Addison, Texas-based Credant has sought to create a portfolio for managing and securing all types of mobile devices by encrypting files based on corporate policies. Gartner analyst John Girard says Credant has been among the most successful of the numerous vendors in the data protection market in large part because of its ability to create an efficient alternative to full-disk encryption.
Since releasing its flagship Credant Mobile Guardian platform in June 2002, the firm has sold more than 2 million seats in about 400 customer installations, the company says.
The flexibility of what co-founder and chief technology officer Chris Burchett calls "intelligent encryption" has attracted a growing number of businesses. Mobile Guardian enables users to protect files by type or creator, based on the policy of a specific business rather than simply by its location on a hard drive of a mobile computing device.
Professional services firm Grant Thornton decided early in 2006 that it didn't want to be the next organization to make headlines disclosing the loss of a mobile computing device, says Kirk Halliday, manager of the systems administration group.
With approximately 6,300 laptop computers and handheld devices within the company, executives became increasingly leery of possible damage from the unfortunately realistic chance that one or more of those systems was stolen or lost.
Halliday tested both disk-level and file-based encryption products before selecting Credant, which it combined with Absolute Software's Computrace, a LoJack-type tracking technology for laptop computers; Computrace uses a software client embedded in the system that can track the computer when a user attempts to log on to the network.
Mobile Guardian is used to encrypt all of the company's files related to accounting and tax work, as well as business advisory services provided to clients by the mobile employees. The encryption is determined by corporate policy; the individual mobile user doesn't have to make any additional effort to ensure the appropriate files have been protected.
Credant's "transparency" to end users was also important, Halliday says. "They continue to run their applications as normal and save files in the same fashion as always, and if our policy has determined it needs to be encrypted, it is, and if not, it is not encrypted," he says. "It's efficient in that it doesn't have the overhead of full-disk encryption."
Rob Marti, director of information security for Integris Health, an Oklahoma City-based healthcare provider, says the growth in regulations protecting patient data that began late last decade, combined with increased use of PDAs by its doctors and related staff, led Integris Health to be a beta customer for Credant beginning in late 2000, before the company's launch.
Integris Health is using Mobile Guardian to manage about 200 PDAs and is deploying the technology to about 150 laptops used within its hospitals. Marti says he has been particularly pleased with Credant's response to requests to add encryption support for various mobile platforms as they have grown in use and popularity.
Burchett believes that Credant's data protection platform is gaining momentum in the market because it was designed with the input of nearly 200 CIOs who were consulted as the company was formed. The initial years for the company have been spent attempting to educate potential users on the benefits of policy-based encryption, he says.
"Those CIOs told us repeatedly that they needed stronger security and end-user transparency, as well as transparency in the I.T. operational process," Burchett says.
"The devil is indeed in the details, and for the level of protection many businesses require today, an intelligent way to enforce protection according to rules established by the company."
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We need money to make the site of the first battle of 1066 accessible to the public. Fulford is the only battlesite of that year where we can be confident about the location. Since it is on public land, the site will be a permanent, accessible legacy.
We will open the site for visitors and during the summer holidays families can come and dig.
- They will be shown how to excavate and given a small section to clear with the help of archaeologists.
- There will be other activities ranging from conservation work on the 1000 bits of iron we have found and preparing models of the battlesites of Fulford, Stamford Bridge and Hastings.
- Access will be free: there will be a small charge to cover costs for those wanting to excavte.
To do this we need to employ archaeolgists and experts
- 80% of our funding pays for people
We also need money to prepare the site, make it accessible and then protect the exposed digs from the weather so visitors can inspect the surface where the battle was fought plus the road into the muddy ford, Foul-ford. It's on public land so it will be there for everybody.
Important note about tax
Please note that the money is being raised by the UK registered charity (1165028) the 1066 Society Charity. Overseas contributors, please ask your national tax authority if a donation is tax deductable. For UK tax payers, you can contribute via Charity Aid Foundation or with your permission, we can recover some tax.
And if we reach our first target...
If your generosity enables us to go beyond the basic trench preparation and site clearance, we need £8,500 to run the family events, and £4,500+ to give the fantastic volunteers the equipment they need to start conserving the thousands of finds so we can put them on display.
- We need to Xray the metal objects
- We are using CT scanning which penetrated 1000 years of concretion that makes the iron look like a lump of stone,conceling its tru shape
- The bones, wood and peat need carbon dating to date the layers
- XRF is another valuable technique which might tell us where the metal came from
- Microscopes, chemicals, fume cupboards, shot-blaster, and so much more will allow us to prepare the finds
With your support we can tell people about this remarkable site in its anniversary year - The Fulford Parish Council have been great at granting access. And the site is very easy to reach by all forms of transport.
|We've made a 6m Bayeux style tapestry
|We organise regular free events
|We've done some pioneering archaeology
The battle of Fulford is the forgotten battle of the momentous year of 1066.
- Fulford is a village on the outskirts of York, which was the old capital of Viking England, known then as Jorvik.
- The battle of Fulford took place on 20th September 1066, when King Harald Hardrada and his Viking army beat the Northern English Army.
- Five days later King Harold (England's new king) arrived with his army and destroyed the Vikings at the battle of Stamford Bridge. Three weeks later, Harold was himself killed at the battle of Hastings.
- We've been researching the battle since 1999 and with the aid of a maximum National Lottery grant in 2003.
- The research allowed us to announce the site location late in 2004, with full publication in 2010.
- For 15 years this has been a great example of the community and the academic world working together including lectures at the British Museum, the Royal Armouries and many international conferences.
- By sharing all the equipment we have bought, others benefit from what we have achieved, empowering the heritage community.
- We have some great stuff to share with visitors.
- Step into the trench where we found lots of bits of bone (below left)
- Look at the ancient road which crossed the muddy ford (old English 'Foul-ford') (below centre)
- Excavate some of the churned surface leading to the ditch where the battle was fought. (below right)
Please come and visit the site this summer and stand where the Vikings stood in 1066
Thanks for reading all this.
There is lots more about the work over the last 15 years on these websites:
Early archaeolgical work, Recent dig, Battle fo Fulford tapestry, Legal battles to save the site, Newsgroup & events


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Album Spotlight: Jennifer Nettles, 'That Girl'
Jennifer Nettles' new solo album is a round peg too big for country music's square hole. Actually, 'That Girl' is sort of a zig-zaggy shaped object that doesn't fit neatly within any genre's stingy requirements. Jazz, blues, country, big band, Broadway, classic rock … Nettles dabbles.
Strong songwriting holds down the 12 songs -- but many are sneaky. One has to listen to the opening track 'Falling' a few times before realizing it's a "first time" song as satisfying as 'Strawberry Wine.'
"They circled all around me / Like confetti on fire / They were nothing when compared to the burning in my head," Nettles sings of her vantage point following an outdoor tryst.
'Jealousy' is another example of a track that will make a casual listener stop and stare at their speakers. "I didn't really mean / To cause such an ugly scene / Showing up at your house, half-drunk and crazy b----, I called you out," Nettles spits between a funky, lounge act instrumentation that is anything but vindictive. What she's saying and how she's saying it don't match, which make for a very compelling track.
Songs like 'Moneyball' may fly over a few heads, but this singer has never been afraid to go after a deeper lyric so most of her Sugarland fans should get it. Sonically, the album flip-flops between soft, organic expressions and feisty, funky orchestrations. At times -- like during 'Know You Wanna Know' -- she's on Broadway. Other times, she's a Delta queen circa 1965. Her cover of Bob Seger's 'Like a Rock' and her original 'Good Time to Cry' are the two vocal standouts. The later is a jazzy performance that will remind fans of 'Stay' in terms of its pure vocal strength.
'Thank You' and 'This One's for You' are two simpler songs, presumably written with husband Justin Miller or son Magnus on her mind. They're sweet and more accessible than 'This Angel,' another ballad that feels ripped from her diary. Variety is what one expects from Jennifer Nettles, and she delivers with 'That Girl,' an album that is certain to keep fans leaning in to hear what comes next.
Key Tracks: 'Falling,' 'That Girl,' 'Good Time to Cry'
Listen for Flaws: Nettles recorded 'That Girl' live, and didn't worry about chair squeaks, out of place breathes or other sounds a more nervous singer would smudge out in editing. The song 'This Angel' contains a few of these "mistakes," she says.
Did You Know?: Nettles co-wrote 11 of the 12 songs on 'That Girl,' but had help from famous friends like Richard Marx, Sara Bareilles and Phillip Sweet from Little Big Town ('Thank You').


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Degrees and Certifications:
Mrs. Whitney Baker
Hello! I am Whitney Baker, and I am your child's kindergarten teacher for the 2017-2018 school year. I am very excited to be teaching (my first year) at Hinchcliffe. Troy, IL is where I grew up, and I am currently living with my husband and daughter. I graduated from SIUE in 2014. I began my teaching career as a substitute teacher in St. Clair County. After a year of subbing I became an individual care aide for a year and a half at Estelle Kampmeyer. In January of 2017 I worked as an interventionist aide until the end of the school year. Now, I am ecstatic to be a classroom teacher of twenty-one amazing kiddos. I cannot wait to see what this year holds for us!


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German battery company sonnen has entered the Australian market, with their sonnenFlat product. I would have written about it earlier, but I've been suffering a fairly serious flu that is hitting Australia late this winter.
sonnen launches battery-driven plan to take Australian electricity retailers 'out of business' #sonnenflat https://t.co/wd1JFa9PTD pic.twitter.com/BowF7rdVA5
— Solar Choice (@Solar_Choice) July 7, 2017
On the surface, it looks like a fairly sweet deal. Add a Sonnen battery pack to your existing solar array (or buy that, too), and never pay for electricity consumption again.
In return, sonnen get to use the battery storage as they see fit via the concept of Virtual Power Plant (VPP).
There are a few conditions of course, as this article from Solar Choice's James Martin II points out. I'd also urge you to also read the comments section as Solar Choice provides further information via responses.
My first impression on seeing the details: this is a mobile phone plan, but for electricity. You pay your $30 a month, use up to the "cap", and then get charged for excess.
So what are the "gotchas"?
For The Provider
sonnen will make some money on battery retail, first and foremost. The consumer pays for the upfront cost of the battery system, as well as the ongoing payment.
In return, sonnen get a VPP, with which they can play in Australia's energy market.
This may include direct retail of energy, but I don't see it, despite their promises to "kill" the traditional energy model.
When the sun goes down there is no generation available to them as a standalone provider, and the battery users they are supplying "free" power to will take most available demand from storage.
Most likely, sonnen will seek a partnership with an existing generator and/or retailer. There is already talk of sonnen investigating agreements with companies like AGL, one of Australia's largest energy providers.
There is a bit of VPP talk going around in Australia at the moment in general. It is one of the ways in which we're going to address how we manage the grid into the future.
It is acknowledged that demand growth for traditional grid generation has tapered off due to a few factors. This includes better energy efficiency, and uptake of renewables behind the meter. Departure of some industries like car manufacturing also contribute.
However, the need for smarter demand management is growing, particularly where the consumption profile is changing for consumers and industry.
Simply put: we don't consume energy the way we did in the past. Terms like "baseload" are swiftly becoming meaningless, and I'd urge you to place limited trust in people who say it is a priority!
"Baseload" is a 19th-century answer to a 21st-century question. https://t.co/HiRQrmvFf5
— Michael Liebreich (@MLiebreich) June 26, 2017
For The Consumer
The obvious advantage is cost savings. By investing in a sonnen system, you can fix the running cost of your household for years, literally.
Paying $360 per annum for electricity would sound like a fairly sweet deal for most, particularly as some consumers have just seen price hikes of up to 20% in Australia.
There is the up front cost that could make the whole conversation moot. Like the arguments around leaving the grid altogether, capital outlay is going to be a deal breaker for a lot of people.
Caveat EmptoR
In one of the comment replies in the Solar Choice article, they note that the "cap" includes ALL usage in the house i.e. not just imported electricity. This starts at 7500kWh per annum for the $30 plan.
For the consumer who can afford the investment, and just want a set-and-forget system, that makes a lot of sense. The consumer doesn't have to micro-manage the system, and maybe has the option of getting a little bit smarter about their usage to try and fit under a lower cap.
One real risk is for those users who sign up thinking its all about "free electricity". If they don't look after their consumption, it will start to hit the hip pocket, and quickly lead to consumer regret.
And what if your household doesn't consume 7500kWh per year? As unlikely as that sounds with 20.5kWh to play with. What sort of plan do you go on?
It is critical to understand your consumption across the year, before deciding which system or plan to sign up to.
Does It Fall (sonnen) Flat?
I'm a consumer who bought a battery without a plan like sonnenFlat behind it. I took some actions to maximise that investment, particularly trying to ensure the house runs lean.
The statistics I've compiled bear this out. My consumption figure of ~16kWh / day via the system APIs is lower than the ~21kWh / day I took from my billing data.
The less I consume, the more I can export, which produces direct financial benefit for me. I'd also like to think it lowers my carbon footprint a bit.
This is a secondary problem I see with sonnenFlat: you don't get any benefit from being smarter or better about your energy consumption. Where is the incentive to use less?
To me its a similar argument to those people who are on-grid, but try to consume 100% of their solar generation. Sure, that's great if you've got a smaller PV system and need to be really smart about your use.
I just don't see the point in running a device you don't need to for the sake of using up your solar power. Particularly when you can export it for the benefit of others (and yourself!)
The Good News
I think the concept of sonnenFlat is moving in the right direction in several key areas.
The surety for consumer electricity bills, while not demanding too much of their capacity to understand the system, is great.
The addition of more battery capacity in a VPP adds important ancillary services to the grid. This helps the grid evolve and integrate to these new, smarter services.
It also shifts the discussion about batteries further into the spotlight for the "Mum n Dad" consumer. While the Tesla Powerwall created a spark, it was priced only for early adopters. Powerwall 2 suddenly put the financials into reach.
This type of offering – promoting batteries as a service, not just a device – is an important step for consumer markets. One day, batteries and solar will not be a case of "are you getting one?" but more "which one are you getting?".
The entire retail model is evolving, to the point where you'll buy your battery and have a plug-n-play installation. Installing solar is slightly more difficult for the average home owner, of course, but it can happen.
IKEA are already offering shopfront retail in the UK, and it will only spread as retailers see profit in the full suite of service provision.
In the absence of anything resembling progressive Federal government policy, all these elements assist our systems to evolve.
More importantly, they help inform our consumers, who are also our electorate.


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Six Foremost Types of Piano Touch
By Xaver Scharwenka and Eugen Tetzel
The Free Fall
A "Free fall" of any part of the body is practically impossible. Friction and tension of the muscles interfere. In piano technique even a "relatively free fall," with the muscles relaxed, is useless, since it will not permit hitting the right key with the proper finger and the requisite force. To do this it is necessary that the fingers "feel" their intention and fall into the correct positions, while the joints, especially of the wrist, stiffen enough to transmit the needed arm pressure.
Coming from slack shoulders, we call this a "modified free fall" of the arm. Even from a very moderate height it carries considerable pressure. The ensuing strength of tone depends in addition, however, upon how many fingers carry the weight, and whether it is evenly distributed between them. For soft tones the full arm drop is too severe. For even moderately strong tones the drop of the forearm will suffice. The hand drop would, it is true, produce a weak tone, but one so slow in action that it can be better achieved by other means. A free fall of the fingers alone, is too powerless to be effective. Even though a heavy finger falling upon an exceptionally light mechanism, might produce action, a quickly repeated alternation between tension and passivity would be unthinkable.
The Throw
When, in addition to gravity a mass is acted upon by some live force in overcoming resistance, we call it a "throw." Since the fall of the whole arm was already too ponderous for fine tone effects, the addition of muscle power still further restricts its use. Such a combination would be serviceable only for considerable breadth of tone. Even the throw of the forearm alone would be powerful, and therefore limited in use. The throw of the hand, however, being lighter, has a wider field of application as regards tone strength. The fingers, which by themselves were ineffective in the drop, become independently tone producing when we apply the throw, though generally needing still other aid to render the result effective. For a stronger tone, arm pressure must be added. In the German magazine "The Woman," Tony Bandmann claims that the throw can achieve an evenly timed tone sequence of from two to five, and even six notes.
The Blow
The "fall" is an action uninfluenced by the will. The "throw" adds an active muscular impulse. The "blow," further, adds pressure. The full arm blow is suitable in the strongest fortissimo only, the blow of the forearm only in fortissimo. Forte could be produced by a blow of the hand alone, in which action, however, the rebound of the fingers would prove disturbing. Because of this, the principle action must still be in the arm, the fingertips remaining close to the keys and the hand executing only the lesser movements. In legato playing a blow of the fingers, conjoined with arm pressure, is capable of producing any and all gradations of tone.
Discrimination between various functions of play going on at one and the same time, must remain theoretical. We do not perform even ordinary movements in the manner of a mechanism run by clockwork. Certainly we do not perform piano movements in this way, these being of a highly involved nature. To give better expression to this intricacy is the underlying thought of modern piano theories. It is a welcome tendency.
The Swing
The word "swing" signifies to us an alternating action induced by the elasticity of a tensed body. The latter is called elastic when it "gives" to a force acting upon it, but shows a tendency to return to its former shape. If the arm muscles, especially those of the wrist, are tensed to an extent which induces such a condition, we may call the arm "elastic." The wrist in this case acts like a wagon spring, which transmits the sudden jars of the wheel without entirely eliminating them. The elastic wrist prohibits a too strong attack, yet transmits a sufficiency of force from the falling, thrown, or striking arm. From this arise, round, wavelike motions. The double effort of avoiding every coarseness of attack and still retaining sufficient power, has led to an entire revision of our theories of technique. We approach the keyboard with a swinging motion of the tensed arm, powerful yet controlled, and at the point of contact give way just as much as the individual case requires. Only deep pressure joined with the greatest possible relaxation, can give a pure singing tone.
"This deep pressure originates in tension of not only the back, but the whole upper body. Even the muscles of the abdomen and of the thighs take part in it. The torso becomes erect, the thorax enlarges, the whole upper body inclines forward and throws its power into the instrument. This mechanism, by giving way gently, allows the superimposed weight to shape the tone in full breadth and softness as well as with accentuation and speed." – Breithaupt
This semi-relaxed condition of the arm may also originate in a throw like impulse. It is therefore best called a "swing." However, here as elsewhere, a name does not always suffice to interpret an idea. Analysis may help us to comprehend the intricacies of touch, but its true value lies in our ability to apply it to practical playing: – throw, swing, and blow attain their end in the pressure of the finger upon the key.
Neither of the three aforesaid attacks are applicable to the most prominent style of touch, the legato; hence our chief asset in piano playing is pressure. It is true that for strength of tone we need quick key action. With equal speed of touch, a hydraulic press could produce no greater tone than a little girl's finger. The quicker the action, however, the greater the expenditure of power in both cases.
Speed of touch should not be confused with speed of playing. To attain the latter with a relatively slow touch would be impossible were it not for the resistance of the mechanism, which breaks the throw of the fingers. This presupposes that the entire weight of the arm is carried by the shoulder muscles, so that the throw is the sole active force. The weight of the arm transmitted through the fingers, easily overcomes the resistance of the keyboard, consequently we have a quick sinking of the key, quick hammer action, and a strong tone.
Though perhaps unknown to theory, these results were really never obtained in any manner other than the above. The only possible blunders were a setting of the muscles and greater stiffness of wrist than was necessary for transmission of power. Some tension must be retained, – unfortunately so, since it hinders flexibility and control of the fingers. Excessive tension needlessly tires and stiffen the fingers, making a fine tone shading impossible. It should be a first principle to allow the joints to remain as limber, and the muscles as relaxed, as possible. The best means to accomplish this seems to be the modified fall, and perhaps also the throw. These, however, as we have said, necessitate some tension if they are to result in a satisfactory tone. Tension, thus, is the unavoidable conditioning factor of power.
Theoretical analysis helps us only in so far as by means of it we avoid an impracticable or mischievous use of the human playing mechanism. It cannot, through an explanation of the working parts, materially lighten the labor of practical achievement. Steinhausen voices this belief saying, "Our body is constructed most practically in so far as fixation takes place automatically just when and where necessary to realize the object of any special motion." He desires, however, "to replace finger technique, insufficient and health destroying as it is, with a form of motion both more forceful and better adapted to the human mechanism."
Pressure in legato playing may vary considerably though the hand remain in touch with the keys. The fall, throw, blow, and swing, though not applicable to legato play, must also necessarily have pressure as a final result. Which of the named varieties of touch is to be recommended will depend upon the nature of the technical problem involved. Pressure may also be used by itself, without any introductory motion. This presupposes that the fingers seek their position some time before the attack, with their tips touching the keyboard. Such proceeding has three advantages; First, greater certainty of striking the correct keys; second, avoidance of any noise through concussion; third, ability to judge the resistance of the key, with a possible choice of influencing pressure at the last moment.
There are good reasons for endorsing Tobias Matthay's advocacy of pressure playing. Unfortunately Matthay has lost himself in a perfect labyrinth of speculation. He classifies no less than 42 varieties of touch: 8 finger staccatos, 10 finger legatos, 6 wriest staccatos, 8 wrist tenutos, 7 arm staccatos, and 6 arm tenutos.
Another of Matthay's fundamental mistakes is the belief that touch influences tone color. The quicker the sum total of speed in key action, the greater the quantity of tone; the slower the key action, the richer, more sympathetic, more singing the tone, and the better its carrying power. The quicker the touch, the sharper the tone, – possibly the more brilliant, but with less carrying power and continuity.
Finger Technique
It is considered good form nowadays either to decry finger action altogether, or at least to deny positive activity to the fingers. Dr. Steinhausen says "The roll is the only transmitting motion which can free us from our miserable finger technique. In the roll nature gives us sufficient speed without reliance on single finger action," and he recommends "the swinging roll of the forearm for obviating all finger motion."
Miss Bandmann in her German work The Technique of Speed in Piano Playing, says: "Under the greatest possible passivity of the fingers we are not to understand inflexible fingers; they only become inflexible through fixation. In weight play we need their flexibility to the uttermost, but not their individual activity." This view is endorsed by Steinhausen.
In an article The Question of Weight Technique, W. P. E. de Hart of Amsterdam says: "The influence of the swing upon the rolling arm mass gives us the free use of the arm, which is not the case in active finger movement, and it finally gives us the feeling as though the fingers were acting automatically. This is explained by the fact that the swing gives a motion to the fingers which is not obtainable in active finger play."
Oscar Reif, we know, has thoroughly explained that the difficulty of finger dexterity does not generally lie in the individual activity of the fingers. When it does, it is usually in the trill. For the rest, finger technic consists in intellectual physical control of the requires sequences of keys, while the physical activity of the single fingers is very small.
Yet it is necessary to emphasize that the activity of the singer fingers, in connection with arm motion, is the very foundation of play, and though at bottom of mental origin, can be learned only through actual practice, that is, by repetition, at first of the single function, and then of its combinations. This function we shall not call "independent," because this might be misunderstood to mean "isolated" or "without assistant arm pressure." It is true that in fast pianissimo passages is not only possible, but even necessary.
Another stone of trouble encountered by the moderns is the passing over and under of the fingers and thumb. We mention only Tony Bandmann: "The hand pushes ahead and the finger passes over – two blunders that are constantly being made, because the passing over or thrusting over is less the troublesome and sometimes appears even the more natural way, and throwing the hand at this point appears superfluous. An additional difficult is that the throws vary, are of different time length, first three and then four successive keys. I overcome this difficulty by letting the four keys be played quicker than the three."
The Roll
Active finger motion must frequently be assisted and partly replaced by other modes of touch. This help can be given either by a vertical action of hand and arm, or by a turning of the forearm along its horizontal axis, with a participating movement of the upper arm. This is the "roll."
Vertical arm activity during play in which arm pressure is not continuous has always been a subject of attention in piano technique. This arm shake or twist, however, can be used also in legato, and in speed play it becomes a necessity. Facilitating, as it does, both motion and relaxation, there are certain other technical problems in which the roll is entirely permissible.
The constantly recurring difficulties of our piano literature have always and imperatively demanded a use of the roll as a condition of technical mastery. In many instances the roll takes place automatically, and in these places its suppression would render successful achievement impossible. It is therefore a subject more for practical than for theoretical study.
Despite the practicality of the roll, restfulness of the hand remains of first importance, since by it we understand the avoidance of unnecessary and disturbing motions. Herein, also, lies in part the hand's "independence." We cannot be blamed for the fact that pedants have transformed this restfulness into rigid immobility. It is true that in initial exercises all efforts which try artificially to restrain the arm from helping the fingers, are to be condemned, since they do other harm. Thus we condemn the "hand guide" less for its hindrance to hand action than for the fact that it stops all weight action and weight control. Yet Hans von Buelow recommended the hand guide, showing that he believed the quietness of hand.
Granting initiative of motion to the single fingers, we must acknowledge the need of their early careful schooling. Whatever would be omitted in practice, the exigencies of play would nevertheless later on demand from the performer, though perhaps without his being aware of it. Since the roll, at least in part, replaces finger action, its early cultivation would be in opposition to the principle of fingers first. However, now sensible teacher will try to prevent its manifestation in so far as it is automatic.
Let us examine how far the roll is indispensable, when it is facilitating, in what instances it takes place automatically (and should not be suppressed), and on what occasions it is only an accompanying phenomenon.
Where two tones requiring the greatest possible stretch between thumb and little finger are to be played in rapid alternation the necessary position of stiffening prohibit all individual finger action. But even if the tension, in slow alternation, would just permit of this, still the forearm, because of its very easy roll in the elbow join, is far better suited for this work, even in lesser stretches of the thumb and fifth finger, also in wide arpeggios; in the latter case this method is used to advantage, as the hand rolls as on the hub of a wheel. The less, however, the distance between the two fingers the sooner does individual action in the customary curved position of the fingers become possible.
The "Roll" in the Five Finger Position
In a close five finger position, especially the narrow chromatic one, a smooth roll would, first of all, require a fixed and carefully tried out finger position; secondly, it would result in a musically impossible legatissimo; and finally, an even roll could be accomplished only up or down, but not up and down.
It is easy to perceive that the turn must cause a delay in movement. If we take into consideration that besides the two up and down sequences, which can each be varied five times by accentuation, we have 22 irregular five finger sequences, we can see that the attempt to solve these questions by means of the roll is one of the most remarkable in piano pedagogies.
A wide stretch between thumb and fourth finger, on account of the long leverage, necessitates only a very slight turning of the forearm to produce a tone. A short stretch, however, as for the trill, would on account of the extremely short leverage, call for so wide a roll as to prohibit speed, unless assisted by the fingers. That the roll may in some cases materially assist the trill, need not therefore be denied.
We see, then, that with a wide span the roll in indispensable, while as the span narrows, finger action becomes more necessary.
However, "one man's speech is not man's speech; both sides should be heard." Herr Breithaupt says: "The trill is an absolute no finger play, without lift or muscle action – a side shake of the slightly hollowed hand."
Weight Technic
Weight technic embraces not only the control of weight, but also its diffusion through finger action. The weight utilized is decisive as to the highest degree of finger strength that can be reached. Such weight, however, is not practically used if the acting fingers are too slow in descending, or if the weight is sustained by other fingers at rest upon the keyboard. In weight playing everything depends upon how slowly or how quickly the weight is shifted from one finger to another, and how quickly the individual finger can turn from its relaxed condition of inaction to the brief tension of touch contact. Since weight action is slow, the finger muscles to transmit the same promptly, must be more or less tense at the moment of contact. Finger power depends upon the suddenness with which this tension can be assumed, the amount of weight qualifying the degree of tension.
We can readily see that passive weighting is not sufficient for producing the highest power. Something must be added. In legato playing it is greater arm pressure, that is, a stiffening of the muscles of the upper arm and shoulder. In non legato it is done by means of fall, throw, or blow of the arm, effective only, as in the other case, through an additional stiffening of the intermediate joints. Dr. Steinhausen is therefore in error when he says that all increase of tone is due to a quicker and longer stroke of the arm.
The Transference of Weight
In how far pressure alone suffices will, of course, depend upon the actual weight of the arm, varying with each player. A strong masculine arm will have at command an extensive strength scale where the arm of a weaker woman or child would need more or less active pressure. This should teach us to consider the dynamic capabilities of each pupil. It is also advisable seldom to go beyond passive weighting, since it is possible to tire or even to exhaust the muscles to a momentary inhabition of their use. According to Dr. Steinhausen we should never utilize weight except passively.
While in quick passages weighting must be in proportion to the amount of tone desired, we may in slow passages recommend it even for soft effects. In rapid passages the transference of weight to each finger must take place quickly, while in slow play it can be done either slowly or quickly. Quick weight pressure can be attained as well by a quick lifting of the finger last used as by a quick lowering of the one to play.
The "moderns" look upon the arm swing as primary and upon the resulting finger action as secondary and therefore not positive. "The finger is only the swinging part of a swinging whole – the arm. One moves and swings with the other" (Breithaupt). "The fundamental form of touch is a swinging movement of the whole arm from the shoulder downward, in connection with a swinging roll of the forearm and an accompanying swing of the hand and the joints of the finger" (Steinhausen). "In the single throw the only active force comes from the shoulder; arm, hand and fingers follow passively. If one has thorough control of this style of play, a rapid tempo imparts more and more the feeling as if the fingers acted of their own volition. In a sense this is deceptive, since a spectator even less than the performer himself can notice any difference in action, but the tone will show it to a sensitive ear" (Bandmann). "The throw, a continuation of the impulsive swing from the shoulder, does not permit of an admixture with active finger motion, in fact, it replaces such motion. Whoever has learned judiciously to utilize the physiologic peculiarities of the throw, is enabled by means of the forearm roll to execute not only the fastest trill, but also scale work and chords, without active use of the fingers" (W. P. E. de Hart, in Klavierlehrer, 1908, NO. 4).
"The 'sacred' immobility must at last be put an end to, and hereafter a dunce cap be given to anyone who should still persist in executing special finger trill exercises and such other refined cruelties" (Herr Breithaupt).


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I know a month from now I'm going to re-read this top 20 compilation and think "why didn't I put ____ on this list?" I'm already regretting the exclusion of Celluloid Heroes, the first Kinks song I ever heard, and so exquisite a piece! Lucky for it I'm a sneak and it just got mentioned and pointed out as exquisite right here in my little intro!
1.) A WELL RESPECTED MAN 1965. This song is a wonderfully folksy, used-on-the-Juno-film-soundtrack, sing-a-long tune about a well respected man-about-town, doing the best things so conservatively. Oh yes it is...oh yes it is! I like the sense of forward movement this song evokes. I could never walk backwards and listen to this song at the same time.
2.) PARTY LINE 1966. A great example of an early, raw, Kinks song bashed out by the unmistakable sound of Dave Davies' guitar. It reminds me of Last Train To Clarksville by The Monkees, only it's much better and raunchier! I love the telephone operator intro which leads us into this boppy thrash tune sung by Dave. I want to fling my arms and legs around when I listen to it.
3.) SUNNY AFTERNOON 1966. Here is a classic Kinks song everyone knows which cannot be ignored. I love being part of the audience when Ray Davies sings this one at live concerts. The entire audience always knows every single word and we become one big shiny happy family singing together while swaying to and fro in time to the music. Ha ha ha happy.
4.) THIS IS WHERE I BELONG 1966. I love the circular quality of this song. It entrances, captivates, and spins your head around, because this is where you belong. I'd like to spin around outdoors and look at the blue sky above me while listening to this song.
5.) WATERLOO SUNSET 1967. Arguably the best song Ray Davies ever wrote. I adore it too, but I can't single it out as his best. It's the story of a man, alone in his room, gazing out his window at the beautiful sunset taking place beyond the dirty river and train station and the dizzying, noisy crowds, as he also beholds Terry and Julie happy together in love oblivious to their surroundings. The man is content to be alone in his room because as long as he gazes on Waterloo Sunset, he is in paradise. It's lovely!
6.) AUTUMN ALMANAC 1967. I've always considered Autumn Almanac to be just as wonderful as Sunny Afternoon, but for some reason it was never as popular. It's pretty special when you can sing along to lyrics like "ooooh, my poor rheumatic back" and still feel happy. I like to either march around like a preschooler or rake leaves while listening to this song.
7.) WONDERBOY 1968. Allegedly John Lennon's favourite Kinks song. It's a pleasant piece, typical Ray Davies. I want to sit at an outdoor terrasse wearing a wide brimmed sun hat and sip on a Marguarita while I sing along to this one.
8.) ANIMAL FARM 1968. Ah, now we're talking! One of the many masterpieces from The Kinks' Village Green Preservation Society album. I love the eager tone of this song. It makes me long to live just a quiet quiet life, by a dirty old shack that I call my home... Animal Farm!
9.) DAYS 1968. Now this song is definitely one of my top 5 favourite Kinks songs ever. It packs such a gentle, wistful punch. It is beautiful, respectful and sincere.
10.) PICTURE BOOK 1968. I'm not sure what my favourite track from Village Green Preservation Society actually is; it's a toss up between Picture Book and Starstruck. Picture Book is seductive. It's a finger snapping tune I have to use my shoulders to dance to as I snap away.
11.) PICTURES IN THE SAND 1968. I thought it only fitting that my blog's namesake be included on this list. This is a lovely, carefree, romantic little piece and I love it. I want it to be MY song!
12.) STARSTRUCK 1968. Starstruck is a sweet old rock and roll song that leads you to the edge of a cliff then pulls you back to safety just as you're about to fall off. It also drives me insane because the world's not so tame.
13.) BIG SKY 1968. By compiling this list, I am realizing that 1968 seems to be an important year, musically, for the Kinks (according to me). So, yeah, my favourite track from VGPS is a toss up between Picture Book, Starstruck, AND Big Sky. This is a great song-- hopeful and inspiring. It's pure beauty. It should be used in advertisements for charity organizations.
14.) ARTHUR 1969. One of the catchiest guitar riffs in the Kinks archives. This song is so underrated! I like the vocals running parallel to the guitar, dontcha know it. I would shuffle along to this song, à la Pink Panther in his animated cartoon series, any day.
15.) SHANGRI-LA 1969. Shangri-La is another favourite from the Arthur album. It gets off to a quiet, acoustic start, and builds itself into an energetic, powerful anthem that really works well. I love listening to this song right after I put on my slippers and sit by the fire.
16.) APEMAN 1970. This was my favourite song for years, and no wonder!! It's so darn likable!! Nice piano and cool sound effects + very humble and inspiring lyrics = yet another successful Kinks song. If only I could sit in the trees and eat bananas all day...
17.) GET BACK IN LINE 1970. Get Back in Line is so romantic! All he wants to do is make some money and bring me home some wine. Awwwww... as if my cup isn't already runneth-ing over. This song is outstanding and poignant and is impossible to resist.
18.) MUSWELL HILLBILLY 1971. The Kinks go country and obtain very pleasing results indeed. Great twanging. I like to sit leaning forward with my hands on my knees when I listen to this one. My heart lies in old West Virginia. Boone County to be exact...
19.) SWEET LADY GENEVIEVE 1973. This is my obscure Kinks song pick. This has always been one of my favourite of the Kinks lesser-known songs. From its lovely harmonica beginning right through to the end, the song simply soars. The song is a lament about lost love, best listened to outdoors or while driving a car.
20.) MISFITS 1977. Misfits was a great album, and the first Kinks album I ever bought. It was 1978. This title track is a very beautiful, even, thoughtful song about misfits. They're everywhere.


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