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Mood Swings Salon & Skin Spa Tempe
Experience art and style in downtown Tempe's trendy Mill Avenue District at Mood Swings Salon & Skin Spa; the Tempe hair salon that sets the bar for hip and fashionable styles in Arizona and around the world. Housed in a century old 5,000 square foot historic building on Mill Avenue, Mood Swings' Tempe was voted Critics' Choice, "Best Trendy Salon" by the Arizona Republic. Our hip Tempe salon is known for our talented team, a wide range of services, great customer service and an upbeat environment that provides a fun and unique experience.
Mood Swings Scottsdale Salon
Relax and rejuvenate at our fashionable and exclusive Mood Swings Salon Scottsdale location. In the midst of Scottsdale's upscale shopping areas, restaurants and hotels, our exclusive Scottsdale boutique is modern, provides easy access and maintains the high standards set by our established Mill Avenue salon.
From the moment one enters the Tempe hair salon and skin spa or Scottsdale hair salon, aromas awaken and revitalize the senses. Mood Swings is a proud member of the AVEDA network and carries and uses this environmentally conscious line exclusively.
Mood Swings fully embraces the mission:
"Our mission at Aveda is to care for the world we live in, from the products we make to the ways in which we can give back to society. At Aveda, we strive to set an example for the environmental leadership and responsibility, not just in the world of beauty but around the world."
- Horst Rechelbacher, Founder
Experience the Art of Beauty
The atmosphere, in keeping with the name, is ever-changing. Every two months a local artist's work is selected for display and sale, and the fashion-conscious team at the ASU area salon is skilled in everything from advanced hair cutting and colouring techniques to aromatherapy and reflexology. Services are accompanied by a Sensory Experience, a concept created by AVEDA that includes a stress relieving scalp and shoulder massage, hand massage, and a finishing touch to your make-up – free of charge. Experience the sense of individualized focus that distinguishes Mood Swings from other Phoenix salons.
The combination of personalized attention and a relaxed atmosphere at both our original Tempe hair salon and our new Scottsdale salon continues to draw praise from guests and media alike. One visit to either of our great locations is all it takes to discover what is unique about Mood Swings Salon & Skin Spa. Mood Swings' award-winning, personalized services include:
- Hairstyling by award-winning, advanced educated, artistic team of hairstylists including blow dry style, women's hairstyles, children's haircuts, hair extensions, hair treatments, bridal and special events
- Hair Coloring that is naturally derived from plants, leaving hair essentially damage-free
- Hair texturing including Perms and Relaxers
- Hair Extensions including Platinum Seamless and Flash Point
- Brazilian Gloss Keratin Smoothing Treatment
- Full-Service Nail Salon including Natural Nails, Shellac, Acrylic and Gel
- Make-up Application & Lessons including Special Occasion and Bridal makeup
- Full Service Skin Spa with skin care options including Facials, Waxing and Massage
Proudly serving the following cities:
- Tempe
- Phoenix
- Scottsdale
- Chandler
Recent Blog Posts
Whether you're a veteran with a curling wand or you just break out a barrel on Saturday nights, the variety of curling wand barrel sizes can leave anyone confused. With prom and wedding season right around the corner, it is … Continue reading
The balayage coloring technique has been a favorite request from our guests for the upcoming summer months (thank you Sarah Jessica Parker.) So what exactly is balayage? Balayage is a French coloring technique that was developed in the 70's. It's … Continue reading
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Book Your ExperienceCall us: 480.968.0268
- All natural plant based products
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Browse thai restaurants in Gloucester featuring photos, videos, vouchers and thai restaurants reviews to help you choose the right local thai restaurants for you.
Why not list your thai restaurants business on Gloucester Citizen?
Address: 36 Castle Street, , CIRENCESTER, GL7 1QH
Address: St Georges Place, , CHELTENHAM, GL50 3PN
Address: 19 St Aldate Street, , GLOUCESTER, GL1 1RP
Address: 191 Wells Road, , MALVERN, WR14 4HE
Address: 36 Castle Street, , CIRENCESTER, GL7 1QH
Address: 39 Rodney Road, , Cheltenham, GL50 1HX
Address: Gloucester Docks, , Gloucester, GL1 2EG
Address: 48 Winchcombe Street, , CHELTENHAM, GL52 2ND
Address: 9 Port Street, , EVESHAM, WR11 3LA
Address: 12 Suffolk Road, , Cheltenham, GL50 2AQ
Address: 8 Well Walk, , CHELTENHAM, GL50 3JX
Address: 3 Oxford Street, , MORETON IN MARSH, GL56 0LA
Address: Chang Siam Thai Restaurant, Gloucester Road, Staverton, Cheltenham, GL51 0SS
Address: 88 High Street, , EVESHAM, WR11 4EU
Address: 117-119 Southgate street, , Gloucester, GL1 1UT
Address: Montpellier Drive, , Cheltenham, GL50 1TY

subset: commoncrawl


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i thoght this would be an interesting question since the new rides do not seem to be liked as much as the older classics but i thoght this would be an interesting topic
mine would probubly be splash mountain or big thunder.
i thoght this would be an interesting question since the new rides do not seem to be liked as much as the older classics but i thoght this would be an interesting topic
mine would probubly be splash mountain or big thunder.
Being a Castmember I find that too many people are too critical of new attractions. An excellent example is Stitch's Great Escape. The majority of the negative response's I heard were from those that are comparing it to Alien Encounter. Yes, the rides were similar, and AE was much scarier. I loved AE, but when I first saw SGE, I went in with an open mind as though I had never been in that building before. I enjoyed it. Agreed, it's not an "E" ticket, but it is a nice attraction. Not saying it doesn't have it's faults, it does. I wish the animation on the monitors was better. I wish people would quit comparing it with AE. It's practically the same attraction, the main difference is that Stitch (A Disney Character, which the Alien wasn't) is the main character. Had AE never been there, people would probably love the attraction as much as they did Alien Encounter.
For the record, my favorite recent attraction is MISSION: SPACE
I will be perfectly honest about Stitch, We like it. Sure it's not alien encounter, but for what they did to it I think it's very appropriate. everyone has to remember that although the fanatics like ourselves might have problems with changes, we are the minority when it comes to guest satisfaction. In the mean time, just enjoy it!
The Disney Diva and Factual Al
Oh yes, my favorite recent attraction is Philharmagic
The Disney Diva and Factual Al
ToT at WDW is recent to me, so I'll say that...
Must see Philharmagic. I'm a huge Donald fan.
For me it would have to be TOT at MGM or Philharmagic at MK. They are just some of the best that they have done lately.
yeah i thoght philhar magic was amazing! a little short but defidently worth going to.
Tower of Tower, a "new" classic complete with great theming, an excellent storyline, and Disney magic.
I wonder exactly what you mean by recent? In the past 5 years it would have to be Mickey's Philharmagic. If we're going back 10 years, I'd say Tower of Terror. 15, Splash Mountain.
I'm a Mission:SPACE man!!!
Listen to me on the radio!
us101country.com Fridays- 9p-12m ET and Saturdays- 7p-10p ET
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rock105.net Sundays - 10p-12m ET
You can also visit my DJ blog HERE!
Also, I have a Myspace- CLICK HERE
recent as in one that hasnt been demolished yet
Gosh, I need to see Philharmagic!! Donald rocks I just got a closeout hat from DL online. It has Donald Throught the years.
1st Amendment-Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.
TOT defintely!!
Still makes me sooooooo mad that we missed the soft opening to Philharmagic by a couple of weeks
Delta Mu Chi Alpha ΔΜΧΑ


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1 Set/Sets
1 Piece/Pieces
Pet Cleaning & Grooming Products
|Grooming Products Type:
Clean Up Products
Small Animals
|Place of Origin:
Guangdong, China (Mainland)
|Brand Name:
|Model Number:
Pet dryer Pet blower
|Packaging Details:
|standard export package
|Delivery Detail:
|7 days
Pet dryer Pet blower
Super power,
hot air,cool air
dry the hair quickly
BS0677 Pet dryer Pet blower
The machine has a wide scope of Applications.
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Anion to keep away electrostatic .
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Anti hair removal, whitening, beauty hair / hair care
Eliminate bacteria and skin diseases caused by the wet skin surface .
Why You Choose us:
BS Electronic Co., Limited is a professional exporter with many years of experiences for the medical equipments include B ultrasound scanner, X ray machines,Patient monitor ,ECG, EEG,Autoclave Sterilizer,Anesthesia machine,Ventilator, laboratory equipment, Operation table ,operation lamp,Surgical equipment ,Dental Equipment and accessories ,Veterinary equipment ,Pet dryer Pet blower,etc.
we've exported our products to over 50 countries in the world .Help more and more hospitals and clinics to improve the medical equipments and solve more problems they may meet in medical field is our purpose.
Wish we can establish long term business relationship and friendship .
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The Pet dryer Pet blower was with strong export package & suitable for deliver by air ,by sea or express like DHL/UPS /FEDEX/TNT.
1.Deliver the Pet dryer Pet blower by air ,it's fast ,usually it takes about 5-7 days ,and you just need to pick it up from the airport.
2.If you do not wish to go to the air port ,then express is a good choice for the Pet dryer Pet blower .for this way ,you can enjoy the door to door service .and you are able to get the product within one week .
3.For the big quantity ,and you are not so urgent for the Pet dryer Pet blower ,deliver by sea is a good choice ,speed is a little slow ,but it is a economic way ,(you need to pick up the goods from the sea port).
No matter which way you choose ,we will deliver on time.
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1.We have advanced facilities for production of the Pet dryer Pet blower , all equipments are delivered after professional inspection .
2. Most of our product have CE,ISO certificate .
3.Our friendly and professional sales team can offer favorable services for the Pet dryer Pet blower . .
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5. Professional engineer will provide technical support in case there are any problems about the Pet dryer Pet blower .
6. We provide one year warranty for the Pet dryer Pet blower .
Any questions , please feel free to contact us.
Contact Details :


text: I will start with my main point of satisfaction and that would have to be the owners. One of the most friendly and HELPFUL business owners I have ever met. They even managed to remember my drink of choice and my wife's drink of choice throughout the whole night out of 60 odd people. The conference area is a beautifully... More


text: I'm just curious if anyone went to the rally today in Portland. It drew a HUGE crowd of 65,000. I saw the video of it and it was insane how many people were there. It was the biggest crowd of his campaign so far. He is SO going to sweep Oregon like he did WA.


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Turkey Loaf with Courgettes and Tomato
|1 Medium, finely chopped
|1 Clove (5 gm), crushed
|2 Pound, minced (900 Gram)
|1 Tablespoon, chopped
|1 Tablespoon, chopped
|1 Tablespoon, chopped
|Egg white
|1 Medium, beaten
|1 Medium
|2 Medium
|Tomato sauce
|1 Cup (16 tbs)
|To Taste
|To Taste
1. Preheat the oven to 190°C/375°F/Gas Mark 5 and line a non-stick loaf tin (pan) with parchment. Place the onion, garlic and turkey in a bowl, add the herbs and season. Mix, then add the egg white to bind.
2. Press half of the mixture into the base of the tin (pan). Slice the medium courgette (zucchini) and the tomatoes and arrange over the meat. Top with the rest of the turkey; press down.
3. Cover with a layer of foil and place in a roasting tin (pan). Pour in enough boiling water to come half-way up the sides of the loaf tin (pan). Bake for 1-1 1/4 hours, removing the foil for the last 20 minutes of cooking time. Test the loaf is cooked by inserting a skewer into the centre - the juices should run clear. The loaf will also shrink away from the sides of the tin (pan) when it is cooked through.
4. Trim the large courgette (zucchini). Using a vegetable peeler or hand-held metal cheese slicer, cut the courgette (zucchini) into thin strips. Bring a saucepan of water to the boil and blanch the ribbons for 1-2 minutes until tender. Drain and keep warm. Transfer the turkey loaf to a warm platter. Drape over the courgette (zucchini) strips and serve with a tomato and herb sauce.


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Borderlands and Controls
By TheMasterDS 8 Comments
So I borrowed Borderlands from a friend a few days ago, having played the first 20 levels or so with him sporadically when it came out in splitscreen, and got about 10 levels into it in two days. It's fun and the shooting has a sorta open ended thing going for it which I've enjoying, though I'm getting the impression that the guns, despite their procedural nature, aren't quite diverse enough to really bring the game alive like say, Bioshock 2's Plasmids do, which makes it seem hard to think that the game is solid enough to last the time it suggests it does. That said I am enjoying it for the time being, and the Coop was always solid, so presuming that someone on my friend's list doesn't mind playing with a level 10 with no DLC, which happened the first time I popped it in, it should continue to be fun.
That said, I'm really annoyed by the way it controls. Not strictly in terms of sensitivity, that's something that I adjusted to quickly, but in terms of button mapping. Basically after playing probably around 30 hours of Bioshock 2 offline and online, I was used to those controls and as such even today I'm constantly hitting the wrong button. Jumping when I mean to pick something up, switching weapons when I mean to jump, throwing a grenade when I mean to switch weapons. I guess it's more a problem with myself than with the game, being accustomed to another game's unchangeable control scheme, but that doesn't stop it from being annoying, and thus its problem. It doesn't help that I sorta feel like I don't like a lot of the choices in its controls from the start. Sure, it offered some alternatives, but they didn't really seem any better, and given that one of them maps shooting to a bumper, I'd guess they' weren't being serious with those schemes.
I'm interested in what Perfect Dark's Live Arcade release is trying, making control mappings according to matching FPS controls, such as the Spartan control scheme and the Duty Calls control scheme, which seems to go a little farther to address the reason people actually want alternate control schemes, to resist change. I really hope they've throw in more thinly veiled control schemes, namely a Bioshock 2 based one called "Little Fish". I don't expect all the functions of Perfect Dark to have perfect parallels to Bioshock's functions, but then it's simple stuff like Weapon Selection, Reloading, and using I'm looking for, which is the sort of thing they implied the schemes were for, so it should be good.


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Attack crime at its roots
The fear of becoming a victim of crime (again, in some cases) has cast a pall on Memphis that won't be shaken off by the 6.5 percent drop in the number of crimes so far this year from the same point in 2006.
Neither is it reassuring -- for those who pass a city limits sign from time to time to go to work, do some shopping or visit suburban relatives -- to hear that criminals are being chased from one municipality into another.
Greater Memphis, according to FBI statistics, is, overall, the most violent city in America on a per-capita basis. It's a metro as well as a municipal problem.
It is encouraging, however, to hear that another effort to address one of the root causes of crime -- in this case domestic turmoil -- is being undertaken by the Memphis Police Department.
The development of a Domestic Assault Response Team (DART) is truly a smart response to a pattern of violent behavior that accounts for more than 20 percent of the homicides in Memphis.
Seventy percent of crime victims know their attacker and 21 percent of victims are related to their attacker, Mayor Willie Herenton pointed out in a press conference last week in which he addressed the crime problem, the issue that dominated the recently completed city mayoral race.
It was gratifying to learn that the police are addressing one aspect of that problem with a program that goes beyond the initial investigation of domestic violence and follows up with referrals to agencies that can defuse tense situations.
It is shocking to hear that there are some 13,000 domestic violence reports a year in the city -- more than 35 a day, including the familiar repeat offenders. And not a pleasant revelation, either, apparently, for the mayor. "What happened to personal accountability in the family and the community?" Herenton wondered, articulating a question that permeates discussions of crime in every corner of this community.
Obviously, local government is limited in what it can do about family life. But programs that take a holistic approach toward societal problems -- problems like drug abuse, juvenile delinquency, domestic violence and the like -- have got to be given a chance to succeed if there is to be any hope of a long-lasting impact on crime.
It's about education. It's about jobs. It's about the city's quality of life. And it's about what agencies such as the Department of Human Services and the Shelby County Crime Victim Center can bring to bear on situations that have or could become violent.
Intelligent police work and tough sentencing laws are important, but getting at the root causes of crime is an important strategy, as well, in the effort to make us all feel safer.
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Carey Dinner Theatre will present "Beehive", the second show of the 2015 season, July 7 - 18 at the Joe and Virginia Tatum Theatre on the Hattiesburg campus of William Carey University. "Beehive" is a musical tribute to the popular female singers of the 1960s. Written by Larry Gallagher, "Beehive" takes the audience on a chronological journey through the decade, from it's beehive hairdos to its hippie fashions and beyond. Along the way the audience is treated to 40 of the decade's most memorable songs including "My Boyfriend's Back," "Will You still Love Me Tomorrow," "Natural Woman," "Proud Mary," "Me and Bobby Magee," Where the Boys Are" and "Make Your Own Kind of Music." The admission price of $30 includes a buffet meal, program book, the show and sales tax. The box office will open June 1 and will be open from 10 - 6:00 pm Monday through Saturday. Individuals interested in becoming dinner theatre contributors receive special privileges, including invitations to the annual pre-season open house and early box office access. Call 601-318-6221 to make reservations, be added to the mailing list or to receive contributor information.
School Events
Noonkester School of Arts and Letters
Tuesday, July 7, 2015 - 7:30pm to Saturday, July 18, 2015 - 7:30pm


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over 2 years ago in collection: Hair <3
You never know pain, until you look in the eyes of someone you love, & they look away.
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In an ABC News/Washington Post poll released this week, 39 percent of Republicans and Republican-leaning independents said Gingrich does not have the kind of personality and temperament it takes to serve effectively as president, a large group to lose on so basic a qualification. An additional 11 percent, moreover, were uncertain.
When pitted against President Obama and even other Republican presidential candidates, Gingrich fell behind.
Gingrich and his wife were in Plaistow, N.H., Wednesday to screen their documentary, "Nine Days that Changed the World," and a book signing at a high school.
At an event at C&M Machine Products Inc. earlier in the day, Gingrich signed the "Strong America Now" deficit-reduction pledge, which vows to eliminate the deficit without adding new taxes.
Gingrich's next public appearance is slated for Sunday evening when he delivers a major foreign policy speech at the Republican Jewish Coalitions' Summer Bash in Beverly Hills, Calif.
ABC News' Jonathan Karl and Gary Langer contributed to this report.


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Cancer patients usually undergo extensive and debilitating treatments, which make quality of life (QoL) and patient satisfaction important health care assessment measures. However, very few studies have evaluated the relationship between QoL and patient satisfaction in oncology. We investigated the clinical, demographic and QoL factors associated with patient satisfaction in a large heterogeneous sample of cancer patients.
A cohort of 538 cancer patients treated at Cancer Treatment Centers of America® (CTCA) was assessed. A patient satisfaction questionnaire developed in-house by CTCA was used. It covered the following dimensions of patient satisfaction: hospital operations and services, physicians and staff, and patient endorsements for themselves and others. QoL was assessed using the European Organization for the Research and Treatment of Cancer Quality of Life Questionnaire (QLQ-C30). The clinical, demographic and QoL factors were evaluated for predictive significance using univariate and multivariate logistic regression.
The mean age of our patient population was 54.1 years (SD = 10.5, range 17-86), with a slight preponderance of females (57.2%). Breast cancer (n = 124) and lung cancer (n = 101) were the most frequent cancer types. 481 (89.4%) patients were "very satisfied" with their overall experience. Age and several QoL function and symptom scales were predictive of overall patient satisfaction upon univariate analysis. In the multivariate modeling, only those with a score above the median on the fatigue measure (i.e. worse fatigue) had reduced odds of 0.28 of being very satisfied (p = 0.03).
Patient fatigue, as reported by the QoL fatigue scale, was an independent significant predictor of overall patient satisfaction. This finding argues for special attention and programs for cancer patients who report higher levels of fatigue given that fatigue is the most frequently reported symptom in cancer patients.
In recent years, awareness has risen of how patients perceive the quality of their care [1,2]. In an extremely competitive environment, patient satisfaction has become a tool to gain attention and value amongst the patients as well as providers. Hospitals and other health care centers are increasingly using this information while making important decisions regarding the operational and treatment plans [3]. The patient satisfaction data is the key indicator of the quality of care and treatment delivered by the physicians, paramedical staff and the hospital as a whole [4]. The health centers can use survey results to design and track quality improvement over time, as well as compare themselves to other health centers. Also, this information is of great use for healthcare accreditations. By conducting their own surveys, the health care organizations are able to recognize and resolve potential patient satisfaction problems and thus improve their strategies [5,6]. Having satisfaction surveys also helps identify the specific needs of the patients for the health care provider [7].
The assessment of patient satisfaction in an oncology setting is particularly salient. Advances in diagnostics, treatment, supportive care and rehabilitation all necessitate continued monitoring to determine whether patients are satisfied with the increasingly complex and multidisciplinary nature of health care services that they are receiving, and to identify areas in which improvement is needed. Cancer patients should be surveyed regularly due to the usual extensive and debilitating treatments that they must undergo. The modes of therapies have their own side effects and often result in difficult patient compliance. As a result, considerable demands are placed on health care providers to satisfy the complex healthcare needs of cancer patients. Several studies have been done to study patient satisfaction in cancers like gastro esophageal [8], breast [5,9], colorectal [10], lung, prostate [11] and gynecological [12,13]. But very few have dealt with a large sample size and a population that is heterogeneous with respect to cancer types.
Similarly, a number of studies have been conducted to evaluate the predictors of patient satisfaction in various healthcare settings including oncology [14-18]. Patient perceptions of needs met or emotional support provided were predicted by their perceptions of the occurrence of physician behaviors involving information such as the diagnosis and tests and treatment [19]. Patient perceptions of physician behaviors were found to be stronger predictors of patient satisfaction than the actual occurrence or absence of those behaviors [20]. A poorer prognosis and a positive quality of the day's news were associated with higher satisfaction. Use of the patient's first name and attempts to establish privacy during an exam were positively correlated with satisfaction, whereas discussing the role of the family and tumor status had a negative impact [21,22]. The number of nurses and doctors per bed, institution size, geo-cultural origin, ward setting, teaching/non-teaching setting, treatment toxicity, global health status, participation in clinical trials and education level were all associated significantly with satisfaction. Doctor's and nurse's interpersonal skills, information provision, and availability also influenced overall satisfaction [23,24]. Common predictors of the overall quality perception which the patients perceive as relatively problematic aspects of care were 'was informed about follow-up care after completing treatment', 'knew next step in care', 'knew who to go to with questions', and 'providers were aware of test results'. The type of treatment received and duration of disease also influenced the level of patient satisfaction [25,26]. Moreover, patient satisfaction can at times be affected by the resistance to the lifestyle changes that a cancer diagnosis and treatment entails and might not necessarily be a reflection of the patients' perceptions of care with their healthcare providers. There also have been a few studies that have indicated a possible link between quality of life (QoL) and patient satisfaction in cancer [27-31].
There is extensive data in the literature demonstrating the use of QoL tools as important predictors of patient outcomes such as survival [32-37]. QoL tools measuring the activities of daily life can predict survival in several different types of cancers independent of the extent of the disease and other clinical prognostic factors. These studies have used different combinations of clinical and QoL factors in multivariate models evaluating the prognostic significance of each on clinical outcomes. These studies have used a variety of QoL tools to measure the activities of daily living, the most commonly used instrument being the European Organization for Research and Treatment of Cancer Quality of Life Questionnaire (QLQ-C30).
In the light of above observations, we hypothesized that QoL tools could predict patient satisfaction with the care received in an oncology treatment setting. The goal of this study was two fold: to describe the patients' experiences with the care they receive and to investigate the clinical, demographic and QoL factors associated with patient satisfaction in a large heterogeneous sample of cancer patients treated at a community hospital comprehensive cancer center. For the purpose of this study, the definition of QoL was based on criteria in the QLQ-C30 questionnaire, which focuses on the patient's capacity to fulfill the activities of daily living.
Study Population
A cohort of 538 cancer patients treated at Cancer Treatment Centers of America® (CTCA) at Midwestern Regional Medical Center (MRMC) and Cancer Treatment Centers of America® at Southwestern Regional Medical Center (SRMC) between August 2006 and December 2007 was surveyed. All patients who had completed a treatment plan consultation with a CTCA physician without having undergone any treatment at CTCA were eligible to participate in this study. Patients with all stages of all cancer types were eligible for the study. The study was approved by the Institutional Review Boards at MRMC and SRMC.
The questionnaire was first developed and implemented by the Research team at CTCA in August 2006. The survey was administered daily at both CTCA sites. An attempt was made to approach all new patients onsite for survey administration. Those who were not approached onsite were sent a survey in the mail. The survey, return envelope and a cover letter was provided in these mailings to the patients.
In brief, our patient satisfaction questionnaire relates to the following dimensions of patient satisfaction: hospital operations and services, physicians and staff, and patient endorsements for themselves and others. The majority of the questions were measured on a five-point scale from "Very dissatisfied" to "Very satisfied". The patients were asked about their method of contact with our hospital as well as the primary reason of their visit. Finally, the patients were asked if our hospital met their expectations and if they would bring their relatives and friends to the hospital if needed.
QoL Assessment
QoL was assessed using QLQ-C30, which emphasizes a patient's capacity to fulfill the activities of daily living. The QLQ-C30 is a 30-item cancer specific questionnaire that incorporates five functioning scales (physical, role, cognition, emotional, and social), nine symptom scales (fatigue, pain, and nausea/vomiting, dyspnea, insomnia, loss of appetite, constipation, diarrhea, financial problems), and a global health status/QoL scale. The raw scores are linearly transformed to give standard scores in the range of 0-100 for each of the functioning and symptom scales. Higher scores in the global and functioning scales and lower scores in the symptom scales indicate better QoL. A difference of 5-10 points in the scores represents a small change, 10-20 points a moderate change and greater than 20 points a large clinically significant change from the patient's perspective [38]. This instrument has been extensively tested for reliability and validity [39-41] and is one of the most common QoL questionnaires in cancer research.
Statistical Analysis
All data were analyzed using SPSS version 16.0 (SPSS, Chicago, IL, USA). Descriptive statistics and frequencies were computed for each item in the questionnaire. Stage at diagnosis was categorized into 2 groups of stages I and II (early stage) and stages III and IV (late stage). The prior treatment history variable categorized the patients into those who have received definitive cancer treatment elsewhere before coming to our institution and those who were newly diagnosed at our institution. Study patients were dichotomized into two groups based on the median scores for all QoL scales to yield "above median" and "below median" scores. This was done to reduce multicollinearity between various QoL scales. The median score was chosen arbitrarily as there are no established cutoffs for QoL in cancer patients. A difference was considered to be statistically significant if the p value was less than or equal to 0.05. Distribution of patient satisfaction analyses was based on a sample size of 538 while the predictors of patient satisfaction analyses were based on a sample size of 445 only. This is because QoL data was available for only 445 out of 538 patients.
The available clinical factors and demographic variables, as well as QoL, were evaluated for predictive significance using either t-tests or chi-square tests, as appropriate. A difference was considered to be statistically significant if the p value was less than or equal to 0.05. The question "Considering everything, how would you rate your overall experience with CTCA" was used as the dependent variable. It was measured on a five-point scale from "Very dissatisfied" to "Very satisfied. For the purpose of this analysis, it was dichotomized into 2 groups: "very satisfied" and all other categories combined into "not very satisfied". Multivariate logistic regression analyses were then performed to evaluate the joint prognostic significance of those clinical, demographic and QoL factors that were shown to be predictive in univariate analyses. In particular, QoL scales found to be significant upon univariate analysis were evaluated for their association with patient satisfaction both with and without controlling for the clinical and demographic factors. Each QoL scale was treated as a dichotomous variable for the purpose of univariate and multivariate logistic regression analyses.
Response Rate
A total of 2203 patients were contacted at both centers combined to participate in the survey between August 2006 and December 2007 at their initial visit to CTCA. However, only 538 patients responded. As a result, the response rate for this study was 24.4%. 62.6% of surveys were collected in-person; 37.4% via mail, with no difference in overall satisfaction by mode of data collection (p = 0.3).
Baseline Patient Characteristics
Table 1 shows baseline patient characteristics. The mean age of our patient population was 54.1 years (SD = 10.5, range 17-86), with a slight preponderance of females (57.2%). Breast cancer (n = 124, 23.0%) and lung cancer (n = 101, 18.8%) were the most frequent cancer types found in our study population.
Table 1. Patient characteristics (N = 538)
Patient Satisfaction Responses
Table 2 describes the level of patient satisfaction with CTCA operations and services. 481 (89.4%) patients were "very satisfied" with their overall experience with CTCA. A high proportion of patients were "very satisfied" with scheduling of their first visit (n = 475, 88.5%) and the speed of admissions and registrations (n = 483, 89.8%). Relatively smaller number of patients (n = 355, 67%) were "very satisfied" with the amount of time they had to wait for the appointments. Table 3 describes the level of patient satisfaction with CTCA physicians and staff. All physician satisfaction items had a "very satisfied" rating of over 80%. Satisfaction with the staff was high with 92.9% of the patients "very satisfied". Table 4 reports the patient endorsement of CTCA for themselves and others. 468 (87%) patients said they would "definitely" bring their mother, father or other loved ones to CTCA for treatment while 459 (85.3%) patients said they were "extremely likely" to recommend CTCA to friends and associates.
Table 2. Patient satisfaction with CTCA operations and services
Table 3. Patient satisfaction with physicians and staff
Table 4. Patient endorsement of CTCA for themselves and others
Univariate Analysis - Predictors of Patient Satisfaction
Table 5 describes the means, medians and standard deviations of QLQ-C30 scale scores. Among the QLQ-C30 functioning scales, the emotional functioning scale had the lowest (worst) mean score of 67.0 while the highest (best) mean score of 79.3 was recorded for the cognitive functioning scale. Among the QLQ-C30 symptom scales, the nausea scale had the lowest (best) mean score of 10.4 while the highest (worst) mean score of 37.4 was recorded for the fatigue scale.
Table 5. Baseline QLQ-C30 scores of 445 cancer patients
Table 6 describes the univariate analysis of clinical and demographic predictors of patient satisfaction. There were no significant predictors of patient satisfaction as shown in Table 6. The only significant predictor was age at diagnosis, with mean age of 49.3 years for "not very satisfied" category and 54.0 years for "very satisfied" category (p = 0.008).
Table 6. Univariate analysis of clinical and demographic predictors of patient satisfaction
Table 7 displays the univariate analysis of QoL predictors of patient satisfaction. The QoL functioning scales that were found to be significant were global, physical, role and social whereas the significant symptom scales were fatigue, nausea, pain, appetite loss and financial difficulty.
Table 7. Univariate analysis of QoL predictors of patient satisfaction
Multivariate Analysis - Predictors of Patient Satisfaction
In the first multivariate logistic regression model with only the QoL scores, only the fatigue score was a significant predictor of patient satisfaction (Table 8). Patients reporting more fatigue had significantly lower satisfaction. A patient reporting fatigue above the median (high fatigue) had reduced odds of 0.28 of being "very satisfied" compared to a patient with fatigue below the median (low fatigue). Overall, the model was significant (chi-square = 23.05, 9 df, p = 0.006).
Table 8. Multivariate logistic regression of predictors of patient satisfaction without controlling for demographic and clinical variables
In the second multivariate logistic regression model none of the demographic controls were significant (Table 9). Fatigue remained significant with an odds ratio of 0.28, so its effect was essentially unchanged when in a full model with controls. Again, the model overall was also significant (chi-square = 34.25, 19 df, p = 0.017). In Tables 8 and 9, "below median" is the reference category for all QoL scales.
Table 9. Multivariate logistic regression of predictors of patient satisfaction after controlling for demographic and clinical variables
Patient satisfaction measures aim to assess the extent to which an individual's health care experiences match his or her expectations. Patients' perceptions of their care are an essential indicator of quality in health care and provide important clinical information about the extent to which a patient's needs and expectations are being met. We conducted this study to assess patient satisfaction with care at our cancer treatment hospital and determine its association with self-reported QoL.
Numerous studies on patient satisfaction with care have been conducted in an oncology setting. A study done in 91 patients with gastric and esophageal using the European Organization for Research and Treatment of Cancer 'satisfaction with in-hospital care' questionnaire (QLQ-SAT32) found the highest scores reported for doctors, nurses and overall satisfaction scales. The lowest scores were reported for access to the hospital, and comfort and cleanliness[8]. A study conducted in a prospective cohort of 39 patients with recurrent gynecologic malignancies receiving chemotherapy found that patient evaluation of care is more closely related to the interpersonal aspects of the health care provider relationship than it is to physical symptoms [13]. A national survey conducted in cancer patients in England for four common cancers: breast, colorectal, lung and prostate (55,674 patients) found that dissatisfaction was greater (p < 0.001) in younger and female patients and breast cancer patients expressed least, and prostate cancer patients expressed greatest dissatisfaction[11].
Yet another study conducted using Patient Satisfaction and Quality in Oncological Care (PASQOC)® questionnaire in a random sample of 3384 cancer patients found that overall satisfaction was high, but specific reporting questions revealed many areas for improvement such as shared decision making, doctor-patient communication and organization of care. Patient-provider relationship, facility setting and information on diagnosis and treatment options were major determinants of a patient's willingness to recommend a facility to a friend or relative if needed [42]. Some studies found information received, technical competences, interpersonal and communication skills, time spent talking with doctors and nurses, accessibility and coordination of care, waiting times, and patients' emotional needs as important or priority areas to improve cancer care services [7,43,44]. In yet another study 'skills of nursing staff ', 'courtesy of nursing staff ', 'courtesy of people who drew blood' and 'cleanliness of hospital in general' were sought predictors of patients' overall perceptions of the quality of care [45].
We also evaluated the different determinants of patient satisfaction. In this study, we found that patient fatigue, as reported on the QoL fatigue scale, was a significant independent predictor of patient satisfaction. This finding has important implications for the care of new cancer patients given that fatigue is the most frequently reported symptom in cancer patients [46-51] with an estimated 60-96% of cancer patients undergoing treatment experiencing fatigue, including 60-93% of patients on radiotherapy and 80-96% of patients on chemotherapy [50,52]. There are several plausible mechanisms whereby increased fatigue could lead to lowered satisfaction. Increased fatigue may lead to a lowered capacity for tolerating normal issues that arise during care, such as the burden of paperwork during registration, time waiting for appointments, or procedures that are somewhat lengthy. In addition, increased fatigue can lead to lack of concentration and attention when interacting with medical personnel. All of these factors can, in turn, lead to a lower level of patient satisfaction.
Several studies in the literature have demonstrated the adverse impacts of fatigue on physical, emotional, economic and social aspects of cancer patients' lives [53-59]. A study conducted previously by our research group in 954 adult cancer patients found that after controlling for the effects of age and prior treatment history, deterioration in fatigue was statistically significantly associated with declines in health and physical, social and economic, psychological and spiritual, family, and global QoL[57]. Similarly, in a study of 1957 breast cancer survivors, fatigue was found to be significantly associated with high levels of depression, pain and sleep disturbance[55]. In another study conducted in 54 patients receiving adjuvant chemotherapy for breast cancer, fatigue showed strong significant correlations with emotional upset, muscle weakness, pain, numbness, sleep problems, problems with concentration and heartburn before the start of chemotherapy[58]. In a study conducted in a group of cancer patients undergoing radiotherapy, fatigue was associated with poor QoL. This association was considerably lower before treatment than at post-treatment or follow-up assessment, suggesting that fatigue becomes most important when treatment has ended[59]. The principal finding of our current study that fatigue independently predicts patient satisfaction takes the research on fatigue in cancer to the next level. Fatigue which is known to have an impact of QoL can also predict patient satisfaction, thereby, making it an important health care measure to evaluate and address.
In order to put our study in a better context of the existing literature, we also briefly review here several studies which have investigated the determinants of patient satisfaction in a variety of cancer care settings. A study conducted in 647 cancer patients using the EORTC IN-PATSAT32 questionnaire found that patients with a higher level than compulsory education or with a lower than a university education level reported lower overall satisfaction; patients reporting lower overall satisfaction were treated in a medical ward and had major compared to minor treatment toxicity. Patients with a relatively higher level of global health status reported higher level of satisfaction with doctors' and nurses' interpersonal skills, information provision and availability. In terms of satisfaction with care overall, patients treated in non-academic settings reported higher overall satisfaction compared to patients treated in academic/teaching settings [23]. Similarly, another study done in 2021 cancer patients at a specialized cancer hospital in Norway found that performance of nurses and physicians, level of information perceived, outcome of health status, reception at the hospital, older age and anxiety independently predicted 'patient satisfaction'[60]. Yet another study conducted in 2790 patients found that males, older and healthier patients tend to rate the overall quality of care higher than female, younger, and less healthy patients. Patients with prostate cancer tend to rate the overall quality of care higher than those with other cancer types [25]. Another study done in 2247 cancer patients in Ontario found that patients hospitalized once during the past 2 years reported significantly higher quality of care than those hospitalized three and four times (P < 0.05). Also, less healthy cancer patients (self-assessed health) tend to judge the quality of care lower than healthier cancer patients[45].
The results of our study do not compare directly with above mentioned studies because of the differences in study design, patient population studied, questionnaire used and outcome measures. Nevertheless, our study adds useful information to the growing body of literature on the importance of evaluating the predictors of patient satisfaction in oncology. Prospective studies evaluating the importance of QoL assessment and intervention on patient satisfaction should be carried out in a large population of cancer patients. Such studies will help us reach definitive conclusions on the role of QoL in improving patient satisfaction with overall cancer care. We are in the process of implementing a real-time computerized QoL collection and reporting system at our hospital, which will allow physicians to keep up to date with a patient's progress on QoL. A score below what is considered normal on any QoL domain would prompt specific action by the healthcare team.
Although this study reports on a relatively uncommon analysis of predicting patient satisfaction with QoL measures, several limitations of the study require acknowledgment. The patient cohort was limited to only those patients who were English speakers, so this study sample is therefore not broadly representative of cancer patients in general. The response rate for the study was relatively low compared to that reported in the literature [61]. This is because a significant fraction of the data was collected via a mailed survey. However, there was no difference in patient satisfaction by mode of data collection. The data we used for this study was not primarily meant for research purpose. CTCA is a unique medical center. It specializes in treating only cancer patients, and it has an intense focus on patient-centered care. Patients report very high levels of satisfaction with their care at CTCA. These results will not necessarily generalize to quality of life and its effects on cancer patient satisfaction with their care at general medical centers and hospitals. Patients in this study reported on their quality of life and satisfaction during or just after their first visit to CTCA. Thus, the results may or may not generalize to long-term patient satisfaction for patients undergoing care for cancer. Patient denial of dissatisfaction with health care may have influenced the results of this study [62]. Workers in the field of patient satisfaction have observed that patients may not express dissatisfaction with the provision of health care because of concern that the standard of care may deteriorate. In the event that such denial did occur in the study, the reported results overestimate the extent of patient satisfaction. This study used a non-validated patient satisfaction questionnaire. Finally, resilience might contribute to some of the findings observed in our study.
Our study has several strengths. We surveyed a large sample size of different cancer types. In determining patient satisfaction, the emphasis of care is generally on curing the patient and treating the disease rather than addressing the QoL of the patient and acknowledging the personal and social needs. It is well-documented that patient's psychosocial, social and financial needs [63-66], should also be taken into consideration and health care providers should be trained in adequate skills required to satisfy such needs.
In summary, our study has demonstrated the predictive significance of fatigue in evaluating patient satisfaction in oncology. To the best of our knowledge, this study is the first in the literature to report on the role of QoL as a predictor of patient satisfaction in a large heterogeneous sample of cancer patients.
Competing interests
The authors declare that they have no competing interests.
Authors' contributions
CGL was the main author of the manuscript, participated in concept, design, data analysis and data interpretation. MR and JFG participated in statistical analysis, data interpretation and writing. DG participated in concept, design, statistical analysis, data interpretation and writing. All authors read and approved the final manuscript.
This study was funded by Cancer Treatment Centers of America®. We wish to thank Kristine Stolfi, Sara Mortensen, Jody Wehrwein, and Cindy Rawlings for data collection for this project. We would also like to thank Norine Oplt and Carol Wages for providing us with updated demographic data. Finally, we thank all patients and their families.
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Preheat oven to 350°F. Sift the flour, cocoa, baking powder, baking soda, salt and cinnamon together and set aside. In a bowl, cream the butter and sugar until fluffy. Add the eggs, vanilla and milk to the butter mixture. Stir in the dry ingredients and mix until well blended. Fold in the zucchini, orange zest and nuts. Pour into a greased and floured bundt cake pan.Bake 50 to 60 minutes. Allow the cake to cool for 15 minutes before turning out onto a rack.
To make the glaze, in a bowl mix together the sugar, orange juice and vanilla. While the cake is still warm, drizzle with the glaze. Garnish with flowers or mint sprigs.
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A simulated musical instrument may be used to alter the audio of a video game, the video aspects of video game, or both. Use of a controller simulating a musical instrument allows a rhythm-action game can be enjoyed in a manner closer to a realistic state of playing an instrument.
1. A method for providing realistic interaction by a player with a music-based video game using a game controller simulating a guitar and having a strum bar and a plurality of fret buttons, the method comprising:
a) displaying to a player first target musical data associated with a musical composition;
b) receiving first music performance input from the player comprising activation of a first one of a plurality of fret buttons and a strum bar;
c) displaying to a player second target musical data associated with the musical composition, the second target musical data visually indicating to a player that the musical event represented by the second target musical data is amenable to a hammer-on technique;
d) receiving second music performance input from the player consisting essentially of activation of a second one of a plurality of fret buttons.
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15. A method for providing realistic interaction by a player with a music-based video game using a game controller simulating a guitar and having a strum bar and a plurality of fret buttons, the method comprising:
a) displaying to a player first target musical data associated with a musical composition,
b) receiving first music performance input from the player comprising activation of a plurality of fret buttons and activation of a strum bar;
c) displaying to a player second target musical data associated with the musical composition, the second target musical data visually indicating to a player that the musical event represented by the second target musical data is amenable to a pull-off technique;
d) receiving second music performance input from the player consisting essentially of deactivation of one of a plurality of fret buttons.
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This application claims priority to U.S. provisional application Ser. No. 60/743,938 filed on Mar. 29, 2006 and titled GAME CONTROLLER SIMULATING A GUITAR.
This invention relates to video game controllers and, more particularly, to video game controllers that emulate a musical instrument to provide game input.
"Rhythm-action" is a popular video game genre which requires a player to perform phrases from a pre-recorded musical composition using the video game's input device. One of the best-known examples of this genre is the BEATMANIA series of games published by Konami Co. Ltd. of Japan. In this series of games the notes in musical phrases are graphically displayed to the player as a series of visual markers spaced along one or more timeliness each marker corresponds to one note in the phrase. In the block diagram environment shown in
It is known, in the context of some rhythm-action games, to provide game controllers simulating musical instruments that allow players to fully use both their right and left hand to provide game input. It would be desirable to provide a game controller that closely mimics the instrument which the controller simulates in such a way that the physical instrument features mimicked by the controller affect gameplay.
The invention is pointed out with particularity in the appended claims. The advantages of the invention described above, as well as further advantages of the invention, may be better understood by reference to the following description taken in conjunction with the accompanying drawings, in which:
A controller simulating a musical instrument may be used with a variety of gaming platforms, such as: PLAYSTATION2, PLAYSTATION3, or PLAYSTATION PERSONAL, manufactured by Sony Corporation; DREAMCAST, manufactured by Sega Corp.; GAMECUBE, GAMEBOY, GAMEBOY ADVANCE, or WII, manufactured by Nintendo Corp.; or XBOX or XBOX360, manufactured by Microsoft Corp. In other embodiments, the simulated guitar musical controller may be used with a gaming platform comprising a personal computer, personal digital assistant, or cellular telephone.
Although described below in connection with a simulated guitar controller, the game controller may simulate any of a wide variety of musical instruments such as percussion instruments (including cymbals, bell lyre, celeste, chimes, crotales, glockenspiel, marimba, orchestra bells, steel drums, timpani, vibraphone, xylophone, bass drum, crash cymbal, gong, suspended cymbal, tam-tam, tenor drum, tom-tom, acme siren, bird whistle, boat whistle, finger cymbals, flex-a-tone, mouth organ, marching machine, police whistle, ratchet, rattle, sandpaper blocks, slapstick, sleigh bells, tambourine, temple blocks, thunder machine, train whistle, triangle, vibra-slap, wind machine, wood block, agogo bells, bongo drum, cabaca, castanets, claves, conga, cowbell, maracas, scraper, timbales, kick drum, hi-hat, ride cymbal, sizzle cymbal, snare drum, and splash cymbal), wind instruments (including piccolo, alto flute, bass flute, contra-alto flute, contrabass flute, subcontrabass flute, double contrabass flute, piccolo clarinet, sopranino clarinet, soprano clarinet, basset horn, alto clarinet, bass clarinet, contra-alto clarinet, contrabass clarinet, octocontra-alto clarinet, octocontrabass clarinet, saxonette, soprillo, sopranino saxophone, soprano saxophone, conn-o-sax, clar-o-sax, saxie, mezzo-soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, bass saxophone, contrabass saxophone, subcontrabass saxophone, tubax, aulochrome, tarogato, folgerphone, contrabassoon, tenoroon, piccolo oboe, oboe d'amore, English horn, French horn, oboe de caccia, bass oboe, baritone oboe, contrabass oboe, bagpipes, bugle, cornet, didgeridoo, euphonium, flugelhorn, shofar, sousaphone trombone, trumpet, tuba, accordion, concertina, harmonica, harmonium, pipe organ, voice, bullroarer, lasso d'amore, whip and siren), other stringed instruments (including harps, dulcimer, archlute, arpeggione, banjo, cello, Chapman stick, cittern, clavichord, double bass, fiddle, slide guitar, steel guitar, harpsichord hurdy gurdy, kora, koto, lute, lyre, mandola, mandolin, sitar, ukulele, viola, violin, and zither) and keyboard instruments (including accordion, bandoneon, calliope, carillon, celesta, clavichord, glasschord, harpsichord, electronic organ, Hammond organ, pipe organ, MIDI keyboard, baby grand piano, electric piano, grand piano, janko piano, toy piano, upright piano, viola organista, and spinets).
Game controllers simulating any of the instruments above may provide a note-producing mechanism different from that usually associated with the simulated instrument. For example, a simulated keyboard controller may include, in addition to key as one would expect on a keyboard, a pitch bend wheel or an associated effects pedal as a secondary note-producing mechanism. Simulated woodwind instruments may include "mutes," such as cup mutes, straight mutes, wah-wah mutes, plunger mutes, bucket mutes, or hat mutes. A simulated microphone may include an effects pedal as a secondary note producing mechanism.
Referring now to
The body portion of the guitar may stimulate bass guitars, such as the Gibson EB-0, Gibson EB-1, Gibson EB-2, Gibson EB-3, Gibson EB-6, Gibson RD bass, Gibson Thunderbird, Gibson Ripper, Gibson Grabber, Gibson G3, Gibson Victory Standard bass, Gibson Les Paul bass, Fender Jazz Bass, Fender Jaguar Bass, Fender Mustang Bass, Fender Precision Bass, Fender Performer Bass, Fender Telecaster Bass, Fender VI, Fender Zone Bass, Fender Dimension Bass, Fender Bass V, Fender Bronco Bass, or Fender Bullet Bass.
Moreover, the second set of fret buttons 220′ may be positioned on the neck portion of the guitar controller such that respective ones of the first set of fret buttons and corresponding ones of the second set of fret buttons are positioned on the same fret of the neck (i.e. a red fret button of the first set of buttons 220 and a red fret button of the second set of fret buttons 220′ are located near each other on the same "fret" of the neck portion of the guitar controller). In specific ones of these embodiments, fret buttons are physically connected to a toggle switch which allows a single physical button to provide two fret buttons, one associated with a first set of fret buttons and one provided with a second set of fret buttons. In further embodiments, respective ones of the first set of fret buttons 220 and corresponding ones of the second set of fret buttons 220′ are electrically connected, e.g. wired together, so that activation of either one of the respective fret buttons is identified by the controller as activation of the fret button, regardless of whether the fret button from the first set of fret buttons 220, the fret button from the second set of fret buttons 220′, or both, are activated. In still other embodiments, the respective ones of the fret buttons are not wired together, that is, the controller can distinguish between activation of fret buttons in one set versus activation of fret button in another set.
In some of these latter embodiments, the second set of fret buttons 220′ may be used for playing "solos" during gameplay. Use of the guitar controller in this manner provides a player with a more realistic gameplay experience, since guitar solos are often played very close to the body of the guitar. In some embodiments, the second set of fret buttons 220; may be the only set of fret buttons on which hammer-ons and pull-offs may be executed, as described below. In other embodiments, the second set of fret buttons 220′ may be used to trigger specific guitar effects, such as pick slides, screeches, or feedback. Alternatively, "performing" using the second set of fret buttons may alter game graphics (such as venue animation, venue lighting, crowd animation, brightness, avatar animation, game cue sustain tail, game cue brightness, game cue sustain tail brightness, game cue size, game cue shape, game cue sustain tail pulsation, and game cue sustain tail size), sound quality, or other gameplay characteristics, such as character health, character wealth in the game, the player's score, or in-game "powerups."
Referring back to any one of
The whammy bar 260 of the controller resembles a whammy bar of a real guitar. As shown in
The whammy bar is typically manipulated by the guitarist's strumming hand, that is, the hand with which the player operates the strum bar 240. In a real guitar, manipulating the whammy bar directly affects the tension of the guitar strings, and therefore causes the pitch of the vibrating strings to rise and fall as the bar is pulled or pushed. The simulated whammy bar of the guitar controller, the vibrato bar, can be used as a continuous controlling actuator, much like a joystick. Typically, the vibrato bar has a single degree-of-freedom, but it may have more degrees of freedom. It may additionally be used as an on-off switch, instead of a continuous controller. The whammy bar 260 of the controller looks and feels like the whammy bar of a real guitar, and, therefore provides a much more enjoyable gaming experience for the player.
The guitar controller 200 also allows a player to use more sophisticated guitar playing techniques to interact with a game. Two such techniques are "hammer-ons" and "pull-offs." Hammer-ons and pull-offs allow a guitarist to player notes in rapid succession. Typically, they only require the use of the player's fretting hand. To play a hammer-on note, the guitarist uses one of the free fingers of his fretting hand to strike the guitar string with high velocity. This results in the string vibrating due to the force of the string hitting a fret. As a result, the string need not be strummed by the strumming hand. Pull-offs require the guitarist to tug slightly on the string when he releases it from a fret. This pulling action also causes the string to vibrate more, again, eliminating the need to strum the string with the strumming hand.
In the simulated guitar controller 200, hammer-ons may be simulated by allowing the player to press down fret buttons 220 without needing to simultaneously strum the strum bar 240. In one embodiment, this is achieved by the manufacturer of the game identifying a note as amenable to hammering on or pulling off. In other embodiments, notes are identified as amenable to hammering on or pulling off automatically based on timing information between notes. For a hammer-on, a player will generally need to first capture a "lower" pitched note traditionally, that is, by holding down a fret button and simultaneously activating the strum bar. If the next note is identified as amenable to being played by a hammer-on technique, the player need only activate the "higher" pitched fret button to successfully capture the note.
Similarly, in pull-offs, the player can "play a note" by releasing a fret button 220 without needing to simultaneously strum the strum bar 240. This is achieved, again, by the manufacturer of the game identifying a note as a note as amenable to hammering on or pulling off in any of the ways described above. For a pull-off, a player will generally need to first capture a note in the fashion described above, that is, by holding down a fret button and simultaneously activating the strum bar. If the next note is identified as amenable to being played by a pull-off technique, the player need only release a "higher" pitched fret button to successfully capture the note. A player may pull-off or hammer-on multiple notes in succession, if the series of notes to be placed are all identified as amenable to hammering on or pulling off. For example, a note series may contain a 3rd fret note, followed by a 4th fret note, followed by a 3rd fret note, followed by a 4th fret note, etc. The player may capture the first note and then play a series of alternating hammer-ones and pull-offs to capture the remaining notes in the series. In some embodiments, the two notes are not required to be immediately next to one another on the guitar neck. Alternatively, a player may play a series of hammer-ons uninterrupted by a pull-off, for example, by striking buttons associated with successively higher-pitched notes. As discussed above, when using the embodiment of a guitar controller 200 depicted in
In either of these embodiments, notes that may be played using a hammer-on or pull-off technique may be visually indicated to the player. In some embodiments, these notes may be identified by changing their geometric shape or making them appear larger or smaller than normal notes. In other embodiments, these notes may be visually identified by changing the transparency, color, or brightness of the note. In still further embodiments, these notes may be identified by a color pattern on the note, such as a stripe, dot, polka dot, or other visual pattern overlaid on the note. In other embodiments, the a note amenable to being played by a hammer-on or pull-off may be indicated using a different color, for example, instead of orange the gem may have a brown color. In that particular example, it may be said that the second gem appears "dimmer" or "darker" than the first gem.
Real guitarists often perform flamboyant motions on stage when playing guitar as part of their showmanship. One typical motion involves rotating the guitar vertically so that the neck of the guitar points up, while the body of the guitar is down, usually at waist level. In the simulated guitar controller 200, a mechanical "tilt sensor" can be included that monitors the guitar's physical orientation. This tilt sensor is typically a mercury switch or a ball-bearing switch which acts as a binary actuator, indicating whether the guitar has been rotated into a "neck up" position, or is in the normal playing position. Such tilt sensors have been included in guitar controllers manufactured by Konami and by Red Octane. Other secondary techniques for interacting with the controller include shaking the controller and slapping the controller.
Referring now to
As shown in
Referring back to
As the game elements 350 move along a respective sublane, musical data represented by the game elements 350 may be substantially simultaneously played as audible music when the player successfully performs the event. To successfully perform an event, a player holds down the fret button 220 corresponding to the sublane on which the game element 350 appears while strumming the strum bar 240. The player must perform this action when the game element 350 passes under the target marker 375. In some embodiments, the player may hold down the corresponding fret button at any point in time before the moment when game element 350 passed under the target marker 375. In other embodiments, the player may successfully perform an event by performing a hammer-on or pull-off when the game element 350 passes under the target marker 375.
In some embodiments, audible music represented by a game element 350 is only played (or only played at full or original fidelity) if a player successfully "performs the musical content" by capturing or properly executing the game element 350. In other embodiments, the audible music represented by a game element 350 is modified, distorted, or otherwise manipulated in response to the player's proficiency in executing game elements associated with a sublane. For example, various digital filters can operate on the audible music prior to being played by the game player. Various parameters of the filters can be dynamically and automatically modified in response the player capturing game elements associated with sublane, allowing the audible music to be degraded if the player performs poorly or enhancing the audible music if the player performs well. For example, if a player fails to execute a game event, the audible music represented by the failed event may be muted, played at less than full volume, or filtered to alter the its sound. In certain embodiments, a "wrong note" sound may be substituted for the music represented by the failed event. Conversely, if a player successfully executes a game event, the audible music may be played normally. In some embodiments, if the player successfully executes several, successive game events, the audible music associated with those events may be enhanced, for example, by adding an echo or "reverb" to the audible music. The filters can be implemented as analog or digital filters in hardware, software, or any combination thereof. Further, application of the filter to the audible music output, which in many embodiments corresponds to musical events represented by game elements 350, can be done dynamically, that is, during play. Alternatively, the musical content may be processed before game play begins. In these embodiments, one or more files representing modified audible output may be created and musical events to output may be selected from an appropriate file responsive to the player's performance.
Referring now to
As shown in
In other embodiments, use of the whammy bar may alter both the visual and auditory aspects of the game. For example, referring to
In other embodiments, manipulating the whammy bar can affect other aspects of gameplay, such as the excitement of the simulated crowd, the number of points the player receives, the amount of "health" a player has, or, in general, the amount of any arbitrary game resource, such as points, score, health, money.
In some embodiments, the controller 200 may be used in conjunction with effects pedals that allow a player to activate certain audio effects. For example, a controller 200 may be provided with a socket for receiving input indicating activation of a flange pedal, fuzzbox, vocoder, distortion pedal, echo pedal, reverb pedal, chorus pedal, delay pedal, pedals that affect the attack and decay of a reproduced note and any other pedal typically used with real guitars.
The tilt sensor of controller 200 may be used as part of a gameplay mechanic. In one specific embodiment, tilting the guitar vertically causes "star power deployment" and is indicated by scoring, graphical, and sonic changes in the game. For example, tilting the guitar vertically changes the excitement of the simulated crowd, the number of points a player receives, the rate at which a player accumulates points, the overall reverberation of the music, the sound quality of the guitar notes, and other graphical and audio effects.
Although described in the context of a rhythm action game, the simulated guitar controller 200 may be used with any genre of game, including first-person shooter, survival horror, action adventure, fighting games, role playing games, real-time strategy games, platformers, puzzle games, racing games, sports games, and stealth action games, third-person shooters. The simulated guitar controller 200 may also be used with rhythm action games that do not center on performance of a musical work using an instrument, such as Dance Dance Revolution of Karaoke Revolution, both published by Konami.
Having described certain embodiments of the invention, it will now become apparent to one of skill in the art that other embodiments incorporating the concepts of the invention may be used. Although the described embodiments relate to the field of rhythm-action games, the principles of the invention can extend to other areas that involve musical collaboration or competition by two or more users connected to a network. Therefore, the invention should not be limited to certain embodiments, but rather should be limited only by the spirit and scope of the following claims.
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text:
In today's crazy, shocking, say-whaaaaa news: TIME just published a scientist's ranking of 41 superfoods based on their nutritional value, and the results are totally surprising.
When we first saw this list, Be Well editor Emily and I looked for kale without even thinking. Because, well, duh. It's kale. But the beloved leafy green clocks in at a kind-of-unimpressive #15. And you'll never guess what took the number one spot. Read more »


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Stir Fried Chicken With Broccoli Rabe
|Dried shiitake mushrooms
|1 Ounce (4 Pieces)
|Hot water
|1 Cup (16 tbs)
|Vegetable oil
|3 Teaspoon
|Minced fresh ginger
|2 Teaspoon
|Minced garlic
|2 Teaspoon
|Skinless boneless chicken breasts
|1 Pound, cut into 1 -inch cubes
|Green onion with tops
|2 , finely chopped (To Make 1/4 Cup)
|Broccoli rabe
|8 Ounce, cut into 2-inch lengths
|Reduced-sodium soy sauce
|1 Tablespoon
|Rice wine/Dry sherry / water
|2 Tablespoon
|2 Teaspoon, mixed with 1 tablespoon water
|1 Tablespoon
|Dark sesame oil
|1 Tablespoon
1 Place the mushrooms in a shallow bowl, add the hot water, then weight down the mushrooms with a plate so that they remain submerged. Let soak for 20 minutes. Over a glass measuring cup drain the mushrooms through a sieve lined with paper toweling and reserve 1/2 cup of the soaking liquid. Slice the mushrooms, discarding the stems.
2 In a 12-inch nonstick skillet, heat 2 teaspoons of the vegetable oil over moderately high heat until hot but not smoking. Add the ginger and garlic and stir-fry for 30 seconds. Add the chicken and mushrooms and stir-fry for 2 minutes or until the chicken is no longer pink. Transfer the mixture to a plate.
3 Heat the remaining teaspoon of vegetable oil in the skillet. Add the green onions and stir-fry for 30 seconds, then add the broccoli rabe and stir-fry 1 minute more. Return the chicken and mushrooms to the skillet, then add the reserved soaking liquid, the soy sauce, and wine. Bring to a boil and cook, covered, for 1 minute.
4 Stir the cornstarch mixture, add it to the skillet, and cook, stirring, for 2 to 3 minutes or until the sauce is slightly thickened. Stir in the sesame oil.


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Attention teens: Join us on the first Saturday of the month at 4pm at the beautiful Ortega Branch!
For our meeting in December, we will be reading Ready Player One by Ernest Cline.
Questions? For more information or assistance reserving a copy of the book, please contact Tony at firstname.lastname@example.com.
Upcoming Events
- Great Books Discussion Group
- Wednesday, July 1, 2015Presidio, Presidio Meeting Room
- Sunset Book Group
- Wednesday, July 1, 2015Sunset, Sunset Children's Area
- Great Teen Book Swap
- Thursday, July 2, 2015Parkside, Parkside Teen's Area
*Funded by Friends of the San Francisco Public Library.


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LEEP Projects
LEEP Projects are problem-based projects that students complete during the summer working alongside a faculty mentor and with an external organization.
These projects offer real-world application of course material, provide an opportunity to engage with others outside of Clark, and enhance mastery of the LEEP learning outcomes.
LEEP Fellows Boot Camp
On Wednesday, May 6, the LEEP Center hosted the second annual Boot Camp, preparing students for their summer experiences. Highlights included workshops focused on:
- Telling your story: Learning how to talk about yourself, LEEP, and your LEEP Project
- Faking your way through Word, Excel, and more
- Professional Etiquette
LEEP Fellows that were not able to attend Boot Camp are required to review the Boot Camp presentation and fill out & return the following forms to the LEEP Center ASAP.
- Student Information/Photo Release Form
- Assumption of Risk and Waiver
- Independent Travel Waiver (if applicable)
Two types of LEEP Projects are available:
- Students may secure a pre-identified project listed in the Clark Recruiter, often sponsored by a Clark alumnus, LEEP partner, or faculty member here at Clark. Descriptions of pre-identified projects will be made available on a rolling basis in the Clark Recruiter beginning January 12, 2015.
- Students may design/secure their own project using the resources of the LEEP Center, Clark Recruiter database, or their own network.
Who can complete a LEEP Project?
- Primarily juniors, though sophomores will be considered if 1) the project is developmentally appropriate; and 2) they can make a compelling case as to how the project relates to their future goals
- Previous LEEP Pioneers are not eligible
- Student cannot be on social or academic probation
We fund:
- Problem-based projects that students complete during the summer working alongside a faculty mentor and with an external organization. These projects should:
- Offer real-world applications of course material
- Allow authentic problem-solving experiences
- Provide an opportunity to engage with others outside of Clark
- Enhance mastery of the LEEP learning outcomes
- Serve as a capstone, or culminating experience
How Do I Apply to do a LEEP Project?
- Talk to a LEEP Center advisor
- Walk-in hours held 2 – 4 pm every day in Dana Commons beginning January 12, 2015
- Walk-in hours held 12- 4 pm every day in Dana Commons, 2nd Floor
LEEP Projects/Fellows Application Deadlines
- LEEP Fellows application opens January 16
- There are two deadlines: Friday, February 27 and Friday, April 17
- Students can expect a decision within 2-3 weeks of the application deadlines
- Students can expect a decision within 2-3 weeks of the application deadlines
The LEEP Fellows Program
The LEEP Fellows Program is designed to provide students with the comprehensive pre- and post-project advising, support, and training they need to have successful summer opportunities and leverage those experiences for future opportunities. All students who complete LEEP Projects will also be LEEP Fellows. Students participating in other activities, such as internships and undergraduate research experiences, or other types of projects, such as Steinbrecher and Barth fellowships, can also apply to be a LEEP Fellow.
LEEP Funding
Who is eligible to receive LEEP funding?
- LEEP funding is only available for those students completing LEEP Projects
- Funding is competitive, but preference is given to those students completing projects sponsored by a Clark alumnus, LEEP partner, or faculty member at Clark
- All students must submit an application in order to be considered for LEEP funding.
How do I receive LEEP funding
- Students should indicate that they wish to be considered for LEEP funding on the LEEP Fellows application
- A stipend of up to $2500 may be available*
- Students who secure a paid opportunity are only eligible to receive LEEP funding if their total compensation is less than $2500
- Students will need to apply for funding and funding decisions will be made by a faculty committee
- No student will receive more than $2500 of LEEP funding; no double-dipping is allowed
*Receipt of outside funds may lessen or negate Clark funding
About LEEP Projects
LEEP Projects, the LEEP Fellows Program, and LEEP Funding Information for Students
Finding a LEEP Project
LEEP Center staff are available daily from 2 – 4 p.m. to meet with students on a drop-in basis to discuss summer opportunities and funding possibilities
How to find LEEP Projects Using Clark Recruiter PowerPoint
Securing a LEEP Project
Students are encouraged to schedule a mock interview with a LEEP Center staff member prior to meeting with a potential employer or project host
Applying for LEEP Funding
LEEP Center staff are available daily from 2 – 4 p.m. to answer application questions
Writing Your LEEP Project/LEEP Fellows Proposal
Writing Your Proposal PowerPoint
LEEP Fellows Application - survey preview
International LEEP Projects
What to Consider When Planning an International Project
International Travel Checklist: Things to Do Before You Confirm Plans
LEEP Projects/LEEP Fellows International Travel Application Form
Contact The LEEP Center at 508-793-8819.


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How to start, stop and restart the CSF?
First you should have the 'SSH' login permission to the server to start/stop the CSF. Login to the server through ssh using a Terminal or Putty.
To start the CSF, run the below mentioned command.
/etc/init.d/csf start
To stop the CSF (if it is already functioning), then use the below placed command.
/etc/init.d/csf stop
To restart the CSF, run the below command.
/etc/init.d/csf restart


text: Is anyone else having problems posting on Micechat in the past 24 hrs?? Seems like most of my posts are taking forever to load up once I click on "post". But most times after several minutes of waiting, the screen goes blank and I get redirected to a "Server not found" screen. However, navigating the site is not problem... only when I post. ...And if you are reading this post, then it's one of the very few lucky ones to get thru tonight!!