text:
|Wing, Robert
|Sessa, David
Submitted to: American Chemical Society Abstracts
Publication Type: Abstract Only
Publication Acceptance Date: 8/27/1998
Publication Date: N/A
Citation: N/A Interpretive Summary:
Technical Abstract: Several biomass agricultural materials (starch, corn fiber, ground corn cobs, and cellulose fiber) have been reacted thermochemically with citric acid. Citric acid dehydrates at high temperature to form a reactive anhydride, which reacts with hydroxyl groups of carbohydrates. Data is presented to show effect of temperature, citric acid concentration, pH, and reaction time. Reaction efficiencies approaching 100% were achieved, while minimizing cross-linking and maximizing carboxyl content. Biomass carbohydrate makeup (starch, cellulose, hemicellulose) gave products showing variable reaction efficiencies and properties. All products possess high ion exchange capacity and data is presented for nine heavy metals. The potential also exists for one time use to yield biodegradable materials in lieu of petrochemically based resins.


text:
Martin C.
Registered User
Last Activity: 06-17-2017 07:25 PM
About Me
- About Martin C.
- Biography
- Imported from the south border, moved as closed as possible to Canada. Married a Texan because that's as close as I could get to marrying a Mexican. Love the cold, the multi-cultural environment and the good wine.
- Location
- Beautiful PNW. Seattle
- My Ride
- e90x; 91 318is
- Interests
- Cars (duh!), Coibas, and good wine.
- Occupation
- Father, husband, and engineer. Sometimes a clown (just ask my wife).
- How many BMW cars have you owned?
- 3+
2011 328i xDrive
1991 318is
Rebuilt m42
New paintjob
Too much to list
2002 325i Steel Gray - SOLD (and missed)
1997 328i Boston Green - SOLD
1990 325is Red - SOLD (and totalled shortly after)
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subset: commoncrawl


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Current Outline
(Where available, chapter titles are linked to an outline of the chapter)
|Bill Nye
Part I: Foundations
|1. Climate Physics 101: The Earth
|Jim Hansen
|2. Venus: Atmosphere and Climate Overview
|Mark Bullock
|3. Mars: Atmosphere and Climate Overview
|Scot Rafkin
|4. Titan: Overview of a Terrestrial World
|Caitlin Griffith
|5. Exoplanet Climates
|Shawn Domagal-Goldman and Antigona Segura
|6. The Origin of Terrestrial Planet Atmospheres
|Kevin Zahnle
Part II: The Greenhouse Effect and Atmospheric Dynamics
|7. The Greenhouse Effect and Climate Feedbacks
|Curt Covey
|8. Planetary Atmospheres as Heat Engines
|Gerald Schubert
|9. Earth General Circulation Models
|Tim Dowling
|10. Global Climate Models of the Terrestrial Planets
|Francois Forget and Sebastien Lebonnois
|11. Chemistry of the Atmospheres of Mars, Venus, and Titan
|Vladimir Krasnopolsky
|12. Atmospheric Circulation of Terrestrial Exoplanets
|Adam Showman
Part III: Clouds, Hazes, and Precipitation
|13. The Role of Clouds and Hazes in Planetary Climate
|Larry Esposito
|13a. Mesospheric Clouds on Mars and Earth
|Anni Määttänen
|14. The Effects of Aerosols on Atmospheric Dynamics
|Nilton Renno
|15. Landform Evolution Due to Precipitation
|Zibi Turtle
|16. Clouds and Hazes on Planets Around Other Stars
|Mark Marley
Part IV: Surface-Atmosphere Interactions
|17. Chemical Cycles in the Earth's Climate System
|Colin Goldblatt
|18. The Effects of Impacts on Terrestrial Planet Climate
|Teresa Segura
|19. Comparative Sedimentology and Stratigraphic Record on Earth, Mars, Titan, and Venus
|John Grotzinger
|20. Mantle Convection and Outgassing on Terrestrial Planets
|Adrian Lenardic
|21. Planetary Magnetic Fields and Climate Evolution
|Dave Brain
Part V: Solar Influences on Planetary Climate
|22. Orbital Effects on the Climates of Terrestrial Planets
|Aaron Zent
|23. Early Evolution of Luminosity of Main-Sequence Stars
|24. Solar Total and Spectral Variability and Its Impacts on Earth Climate
|Jerry Harder
|25. Atmospheric Loss from Terrestrial Planets
|Feng Tian
|26. Planetary Climate and the Search for Life
|David Des Marais
Back to Comparative Climatology Book Project main page


text:
This is a discussion on Honest thoughts on .32 ACP? within the Defensive Ammunition & Ballistics forums, part of the Defensive Carry Discussions category; Originally Posted by HiFreq47 You don't need to. Energy is a factor of weight and speed ... and a .32 needs to move very very ...
"In a republic this rule ought to be observed: that the majority should not have the predominant power." -
-- Marcus Tullius Cicero
Ever combined BBs and rubber bands? Or a rubber band and "football" folded piece of paper with staples in it? We used to call them "stingers" in middle school. My friends would always get me as I was taking care of business at the urinal... no way to defend!
If one is going to rely on a .32 they really need to get out and practice, A LOT!
The .32, .380, and other marginal calibers are contact weapons best used by placing the barrel in the eye, mouth, or ear of the attacker, and firing as long as the target remains standing.
Is the gun dependable? Can you shoot it worth a darn? If the answer is "yes," then you are well-armed.
If European Police and civilians used the .32 for years and it did well, I see no reason not to carry one. I have a Bersa .32 which holds 10 + 1 rounds and shoots well. I use Fiocchi 73 gr FMJ which gets good penetration. As one of the posters here said, a guy accidentally shot himself with a .32 and died from internal bleeding. It is enough round to do the job, and with such light recoil it is easy to put 3 or 4 rounds center mass.
Answer: Taurus TCP 738
$199 brand new, .380 caliber, best DA trigger of all the mouse guns in its class, last round slide lock back, easy to shoot.
Crap, I got suckered into an old thread.
Contrary to popular opinion, there are some .32 ACP loads that will expand. I found one that will also penetrate a fair distance. I was thinking about retesting the Fiocchi later today in the new clear gel I have been using just to see how it will do.
Pocket Guns and Gear: 32 ACP JHP Shoot-Out
Author of the Pocket Guns and Gear blog. Stop by for a peek at http://mousegunaddict.blogspot.com
IMO the only crap round there is, is the .25 acp. The .32 will do the job.
.32 ACP extremes in thought:
Obviously I have a Kel-Tec P32. It is my around the house gun (to get me to something bigger if need be) and my "when I can't carry" gun. There are times one wants to be armed but for one reason or another absolutely has to be 100% concealed no matter what. The only guns that do that better than the P32 in my experience are the NAA minis, and they are even more of a trade-off. I haven't shot the P3AT, but my wife has an LCP and it is very similar. The P32 is lighter, has much less recoil, holds more ammunition, and is much easier to shoot well (for me anyway). I don't use JHP ammunition in the .32 ACP, just 73 grain ball from one European manufacturer or another. It isn't a perfect "holdout" gun, but it makes the grade IMO for the role it was intended to fill.
That said, when people talk about the various police forces in Europe using the .32 ACP, they are not talking about cops with P32s and similar guns. European police forces used guns like the Walther PP and PPK, the Beretta 81, the CZ70, CZ83, and similar sized handguns. They had longer barrels, better triggers, and better sights. Plus, they were shooting European spec .32 ACP (7.65x17mm if you will), which is hotter than most .32 ACP ammunition in the US. Then, of course, there is the VZ61 Skorpion machine pistol. While 1 .32 ACP round might not be much in the grand scheme of things, a burst of 10 or 20 of them will ruin your whole day. The VZ61 is reported to be pretty easy to control in full-auto because of the light recoil. My semi-automatic only version is great fun and completely reliable.
I like .32 caliber cartridges in general, and that includes the ACP. I carry a P32 regularly, and I wouldn't hesitate to carry a CZ 83 or Beretta 81 as a primary weapon if I had one available. At the same time, the micro .380s don't do anything for me, too much of a good thing perhaps, but I just don't have a lot of faith in them. On the other hand, my new carry gun is a Beretta 84FS, 14 rounds of 102 grain Golden Sabres in a reliable, accurate, and compact package is a great home for the .380 ACP cartridge.
"The Engine could still smile...it seemed to scare them" -Felix
A properly placed bullet regardless of its caliber will kill you just as dead regardless of how big or how small it is.
I saw on the news that a US Military Man got shot diagonally through the torso with an RPG. Lucky for him the grenade didn't go off!!!
The tip-end was sticking out of his hip area and the tail was sticking out around his ribs. They were able to remove it surgically and he survived! He is living a surprisingly near-norm life today!
I salute him !!!
So what caliber would that be equal to?


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So you have already found the home of your dreams. What is best the price perfectly fits your budget and you are ready to go on and sign the documents to make sure no one else will take the place. It seems like the easiest thing, just sign in the documents and you are the happy tenant of your first home. But hold on a while! Especially if you are hiring a home for the first time in your life. You should be aware of the fact that there is a plenty of extra expenses that might appear after you have signed the document. Read the following article to get to know where these expenses might come from and to be ready for them so that they will not harm your budget.
1. Make sure you are well informed what the monthly hire includes. Some rentals are based on the "all inclusive" principle but still make sure you have carefully checked what is included in the "all inclusive" as sometimes it is far not "all". The most important utilities that you should check are the phone bills, Internet connection, electricity, gas and water. Practically all household expenses.
2. Ask the landlord whether there are any expenses that depend on the season and that are not included in the rent. These expenses might include air conditioning in the summer or heating in winter. Ask the landlord how the paying for the bills for these services is arranged.
3. Before moving to the home for rent carefully consider how much space you are going to need for your belongings. Some apartments' closets are not big enough to hold all of your items. Others have storage but you have to ask the landlord whether the storage is free to use or there is an additional monthly rental for it.
4. Consider the costs for transportation. If you have a car check if there is a parking place for it near to the place. And is there is ask the landlord if its price is included into the monthly rent or you will have to pay an additional cost for it. And if you do not have a car, make sure to check if there is regular public transport such as subway, trains, buses. Make sure if there is a public transport spot located near the home and the prices you are going to spend on a daily basis if you move there and travel every day.
5. Very important one – check if the place has its own laundry. What is the price for using it and if there is no laundry is there a public one nearby. Check its costs.
6. Check where the smoke detector is situated. Ask if it is into the construction itself or you will have to take care of buying batteries to keep it working.
7. Last but not least – check the prices of the local supermarkets and groceries. People tend to ignore this but as prices are really flexible it is a must to check them as you might be unpleasantly surprised when the time comes to shop the food for the dinner.


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|Thread Tools
283 chev engine mods
Hi Guys
I live in Australia and own a 1970 Holden running a 283 chev with mild cam and a Supra 5spd box. Parts for my engine don't seem to be readily available and I am looking to increase performance although I am running on a budget.
Has anyone hotted up a 283 before and what suggestions do you have? I was thinking stroking etc.
Look forward to your input.
You could put a 327 crank in it that would give you 307 (you would have to use 307 pistons also) this combo would be cheap.
Thanks Bob
Is the bottom end compatible?? I heard the 283 was the last of the sb chevs to come out with a stainless crank. Is this option available with a 327 setup. Also, I notice vibrations at around the 3000-5000 rev range. Is balancing a simple or complex job?
Much appreciated.
I do not recall ever hearing that the 283 had a stainless crank in it. As far as I am aware, the 283 cranks were all cast iron. Probably the cheapest mod is to bore the 283 to 292, get a small hydraulic cam of about 280 degrees duration. Aluminum dual plane intake with a small 550-650cfm carb, headers, and a set of relieved power pak heads if you can find them. What is a Holden?
The early 283 cranks were all FORGED steel, not stainless, the 327's were also steel, the factory didn't start using cast stuff till after 1962
Thanks for the info guys. A Holden is a GM brand sold in Australia, New Zealand and parts of England and now the US. We are exporting the Holden 'Manaro' to the States as the new Pontiac GTO. In Australia it looks exactly the same except for the front end - I actually think the front end on the Australian version is a little sexier!!
Can anyone give me some info on blancing the 283? Is it internally or externally balanced and what is involved in the balancing process?
The 283 is internally balanced.
Balancing is done when you replace a crank. It's done in a COMPETENT machine shop and may require drilling/addition of mallory metal on the counterweights. The shop weighs each piston/rod and shaves them down to the lightest found in each set. Then they set up the crank balancing machine for the weights achieved on the piston/rods and have the crank dynamically balanced with bob weights on the journals to simulate the weights of the pistons and rods. A balance job is routine on a performance engine and should be performed on a small cube small block like your 283 or 307 or whatever you make out of it because it will have to rev high to make good power due to it's small size. All small block chevy's from the dark ages were internally balanced with the exception of the 400 which was externally balanced on the flex plate and harmonic balancer.
If memory serves A Holdon Monaro was like a Chevelle, is yours a Monaro. Must be an older one if it's running the 283. 283's had small journal cranks so the donor crank you choose to stroke it would most likely have to be turned down to fit, no big deal if your getting it balanced. An early 327 crank might be the way to go as it's a small journal. All 307 cranks and post 67 327 cranks are large journal.
The heads on that engine probably have tiny intake valves and runners and will not work well to build power. Look for later model heads that are cheap but make good power like 882's with 1.94 intake valves that should still clear the 283's tiny cylinder bores. 2.02's may not work without bore notching.
Allot of smog-era 350 Chevy's have these heads or the equivelant and should be abundant in Australia too.
Tiny small blocks get allot of benefit from a free flowing exhaust system, so think about at least a 2-1/4" dual exhaust with turbo mufflers. If it's in the budget go for quality mufflers like flowmaster instead of turbo style. Headers are great too but you sound like you are on a tight budget so manifolds work fine too.
Don't go any larger than a600 cfm four barrel for that engine or it will be a dog. A dual plane intake will work best like a Weiand 8004 or the equivelant with Holley written on it. Don't block off the heat riser or it will be stumbley in cold weather.
Pick a reasonable cam profile to keep it streetable:
280 advertised duration max, 112 degree lobe centers and around a .450 lift max. A good grind might be a split pattern cam with: .420 lift intake and .443 lift exhaust with 270 duration intake and 280 exhaust. For a 307 or larger that should work great. If you stick with a 283 cube motor a little tamer grind would keep it super streetable and economical.
All of the cams, intakes and exhaust stuff should be readily available in your area. If not start surfing the net and look for businesses that ship to Aussie but I doubt you will have to do that. PAW(Performance Automotive Wholesale) in California is my main source of speed equipment.
After you get done pricing all this stuff you might want to look for a "donor" 350. They make great power compared to a 283 with the same speed equipment.
Thanks Goldduster
Your information was very informative. You are correct in your comparison between the Chevelle and the Monaro. Mine is infact the 2nd generation Monaro built in 1970. These cars originally came out with 186 sixes or 327's and in '70-'71 were produced with the 350 Chev. Mine is actually a customized ute made to look like the Bathurst racing model of the day and started life out as a 6 cylinder. The 283 was sitting in a friends garage so it was adopted for my project. I've actually won a few shows since the original build!!!
A 350 was under consideration but I've been told the Supra 5spd may not be able handle big power figures from a warmed up 350. I may need to investigate that one a little further.
Thanks again.
No way would I use a large-chamber 350 head like an 882 on a 283. Your compression ratio would be way too low (~7.4:1 with flat-tops, ~9.2 with domes, but then combustion quality suffers). And if you're thinking of using a 327 crank, be aware that not all 283 blocks will accept a 327 crank due to clearance issues, and also that some 283 blocks can't be ground enough for clearance without hitting the water jacket.
A 333882 (882) head has open chambers and 1:94 valves along with larger intake runners. While it was used from the factory with 350 and 400 engines it still has open chambers like it's smaller base engine brother the 307. So to call it a "350" head in gearhead terms is not entirely accurate as it will bolt on a 307 and create the same compression ratio approximately. Open chamber heads fall into the 72-76cc range.
Anyone who has ever replaced the stock shim style gaskets on a 8:5 to 1 350 with .040 thick (rebuilder style) gaskets has created an 8:0 to 1 motor and they still run fine.
A properly selected camshaft that can work with the flow of the heads selected can build enough cylinder pressure to compensate for a slight compression loss. The larger valves and intake runners would be worth the compromise in my opinion.
Of course you could forget about stroking it and bolt on a pair of 492's with 1.94 valves.
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SilverStone FM82
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Join Date: Oct 2005
Location: Seattle, WA
Posts: 153
When will fan companies get the clue that they need to put reostats on the fans themselves.
Ive got a couple of fans from generic manucaftures that have a small control lead coming out of the motor, with a screwdriver controled reostat to adjust the speed with. Its not THAT much more expensive to add (i think i paid $2 more over a generic 80mm for them) and it should be standard on any performance fan.
Plus it would be nice to see a rear mounted fan control knob on a slot plate (like most other performance fan manufactures like thermaltake or zalman), instead of a front mounted one...especially in a 3.5 slot. Seriously, ive only got one external 3.5 in my current case, and it has a much needed floppy/card reader combo drive in it. I simply dont have room for it, and i shouldent be penalized by reduced functionality becuase i only have one 3.5 external bay.
The seconed issue that i would have with it that is running the cables to the front of the case. I have enough shit up front already. I dont need another cable getting it the way, especially a small annoying one.
And ironicly enough, my next case will probibly be a Silverstone mATX case. And that case doesnt even have an external 3.5 slot...oops. Way to market research your own products Silverstone.
I think a little bit more market research into the fan industry would have told silverstone to make a rear card plate, then a front mounted, silver, ugly MASSIVLY knobed, 3.5 slot controler.
Just doesnt make sense to me.
I personally havent used the fan. SO i cant comment on performance, or from personal experience. But these are some shortcomings i see with the general design, that really remove from the precieved value of the unit. And would be a big shortcoming for most people expecting to get a good near silent fan.
Oh, you got that db meter from RadioShack yet.
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Gun Control Debate thread
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post #563
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And you are trying to paint a picture where a guy with a gun is less dangerous than a guy with a knife. Oh, you're not actually coming out and SAYING it, because it would sound moronic and rightfully so. But you'll happily point out that killing running people with a gun isn't easy, while ignoring the fact that killing running people with a knife is even harder. You'll talk about the chance to run while a guy is dealing with a jammed gun while ignoring the fact that the moment a guy sticks a knife in a person he has a very good chance of having his arm grabbed.
No one is trying to say either is more dangerous than the other because objects by themselves have no inherent danger. It is completely situational. You're inventing a scenario in your mind where you are comparing a situation where an individual used a firearm and then comparing that exact same scenario with an individual using a knife. That's as ludicrous as comparing someone riding a steep AK pow line with a Jones Flagship to him riding it with an Arbor Draft and saying that proves the Flagship is a more effective snowboard. All weapons have advantages and disadvantages. A knife is cheaper and easier to learn to use. It is quieter and more concealable. It's more easy to obtain. It's easier to carry multiple knives. So of course a person who commits mass murder by having a shootout in the food court of a mall wouldn't be able to do the same thing with a knife. But it doesn't mean he couldn't kill as many people. If I had to kill a bunch of people with a knife, I'd do so in an area where it's easy to isolate people, with hallways and narrow passageways. I wouldn't pick a food court.
You point out that Lepine killed more people because they didn't resist while ignoring the gaping fact that the reason they didn't resist was because he had a gun. If he'd had a knife they would have just scattered.
That's because the media and society has in general has bred a mentality that the best way to try to survive when presented with a madman (not a mugger) is to just cower.
And you happily ignore the greatest single flaw in your dance -- the fact that every nutcase who wants to go out and kill a bunch of people for whatever reason these lunatics do so, does it with guns. Why? Is he saying "I'll do this with a harder weapon to give my victims a sporting chance" ? Of course not. He's grabbing guns because he knows, just as well as you know and I know and anyone with an ounce of sense knows, that he will be able to kill more people more thoroughly more easily with guns. Period. Apparently the lunatics agree with me, not with you.
Tell you what. You amass a set of statistics showing that on average more people get killed per knifing incident than per shooting incident, and we'll talk some more. Untill then, I really am tired of belabouring the obvious.
The onus is on gun-control proponents to demonstrate why passing laws to making guns more difficult to obtain by law-abiding citizens will make society safer. Like I said prior, if you destroyed large amounts of guns (as logistically silly an undertaking that would be) you would expect less murders with guns. But simply creating less murders with guns isn't the goal. What places like AUS and UK have shown is that there isn't an appreciable difference in the number of homicides overall.
Gun control, quite simply, is a solution looking for a problem. It has not been shown that gun control, in The United States, would make it appreciably harder for criminals to obtain guns nor make society safer in an aggregate measure.
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Inspection failed
I recently added a 50 amp feeder circuit for a park model (RV) on a piece of vacation property I have. The inspector came today and I failed :furious:.
The current setup is a 125 amp panel that had a 30 amp service for a 5th wheel, a couple of 20 amp breakers for lights in a bathroom shed and a tool shed. There is a water heater and washer/dryer in the bathroom shed that are wired to a 30 amp breaker.
There were a couple of small things that I have to fix that I understand fully, but I don't quite understand this correction.
"The calculated load of a feeder or service shall not be less than the sum of the loads on the branch circuits supplied, as determined by Part II of this article, after any applicable demand factors permitted by Part III or IV or required by part V have been applied. THE 70 AMP FEED MAY BE OVERLOADED WITH MULTIPLE RV'S AND WATER HEATER/DRYER."
I'm not quite sure how to fix this? I have a storage for my 5th wheel that wont be hooked up full time, but there is a plug for it. There is only 60 amps coming to the property unfortunately and no way to increase this. I'm aware that if I am running everything ie washer/dryer water heater and everything in the park home that it could overload the breaker and trip, but I obviously wont be doing that. Is there anyway to get this to pass?
This is completely absurd. WHAT is he basing the calculated load on? Just because you have a 30A & 50A RV circuits doe NOT mean they will be used at the same time. Also, who says you will be doing laundry with a 50A RV there running full blast?
This is not a dwelling, ask him how he wants the load calc done. Ask him for an explanation of how and what he figures will be used simultaneously. What he is saying is like saying you have 100 20A receptacles on 40 circuits in your home. That is too many and you could overload your 200A service.
If you ask me I'd say remove the 50A receptacle and blank it off, get it reinspected, and then put the 50 back.
i've never had an inspection before... I'll call the inspector tomorrow and see what he is basing the load calculation on.
Now for demand caluation for RV park is differnt than run of mill resdentail stuff and the way inspector turn you down that part I do not know which formala he used on this one.
I think I have a feeling that you do have exsting 60 amp service instead of 100 amp service ( Please do correct me if you have a legit 100 amp service there )
You are correct, there is only 60 amps of service coming into the panel. It is unclear why the inspector stated 70 amps on his report?
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Winter Olympics: Nearly Golden for U.S. Women's Bobsled, But Still Historic
By Ryan Howe | BSU at the Games
Elana Meyers had hoped to be in the Summer Olympics playing softball.
Instead, the former Mid Michigan Ice softball player from Douglasville, Ga., was at the Winter Olympics in Sochi, Russia, seeking a slide toward greatness. She nabbed it, too.
Meyers and Lauryn Williams, of Miami, slid to a silver medal finish in the two-women bobsled competition, just ahead of U.S. teammates Aja Evans, of Chicago, and Jamie Greubel, of Newtown, Pa., and just behind Canadians Kaillie Humphries and Heather Moyse a mere 0.1 second back.
That gave both Meyers and Williams medals in consecutive Olympics, an impressive feat to go home with as they march into the Closing Ceremonies for the Sochi Winter Olympics tonight.


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Details Posted: June 1, 2017 Location: Kingston, Rhode Island Salary: Open Type: Full Time - Experienced Required Education: 4 Year Degree OverviewThe Director of Marketing & Fan Engagement will play an integral role working closely with the Associate AD for Marketing in developing and implementing a comprehensive strategic plan for the Athletics Department with focus on men's basketball and football to increase ticket sales, drive attendance and create a memorable and exciting fan experience while fostering innovative and collaborative efforts to engage students, staff, alumni, sponsors, donors and prospective fans of Rhode Island Athletics. ResponsibilitiesWork closely with the Box Office and Ticket Sales Department in the creation and implementation of comprehensive marketing plans to create awareness and increase revenue for men's basketball and football season tickets, mini plans, groups and individual game sales.Facilitate all marketing and promotional efforts for men's basketball, football and baseball including conducting meetings with coaches and other departments, developing game day atmosphere content as well as coordination of video and photo shoots.Develop and implement initiatives to increase student attendance and engagement at athletic events while working closely with Student Affairs, Greek Life and Resident Life.Plan, direct and execute game production efforts for men's basketball, football and baseball including creation of game scripts, music/band, promotions, video, cheer/mascot and on-court presentations.Coordinate weekly external meetings working closely with Athletic Communications, Athletic Development, Ryan Center departments - Facilities, Box Office, Ticket Sales and Event Services as well as Rhody Sports Properties (Learfield).Collaborate with department's multi-media rights holder, Rhody Sports Properties (Learfield), to develop entertaining in-game promotions and activation of sponsorships.Coordinate special events such as pre-season men's basketball Rhody Madness, season ticket holder party, viewing parties, etc.Manage the design, production and distribution of all marketing materials/graphics for men's basketball, football and baseball.Coordinate all digital marketing efforts including strategy development and implementation of targeted digital campaigns, development of communications calendar and Google spreadsheets as well as analytics.Develop and implement community and campus outreach programming for men's basketball, football and baseball with the assistance of the Athletic Communications Department and Athletic Academic Affairs.Day-to-day management and oversight of GoRhody website and Athletic Department's marketing budget.Management of Rhody Rewards Program.Supervision of Marketing Coordinator, Marketing Assistant, student interns and spirit squads. NONESSENTIAL JOB FUNCTIONS:Perform other duties and responsibilities as required, which occurs often.Assist in the marketing efforts of URI Athletics as necessary to maximize the revenue for both entities Bachelor's degree from an accredited college/university in Marketing, Public Relations, Communications, Sports Management or related field.Minimum of 2 years of full-time experience in Division I college athletic marketing or professional sports marketing (not including graduate assistantships or unpaid internships) or minimum of 4 years of full-time experience in Division II college athletic marketing.Demonstrated experience with leading game presentation for live sporting events (preferably men's basketball, women's basketball or football).Excellent organizational, problem solving and communication skills required.Strong attention to detail with ability to create and maintain very specific timelines.Ability to design marketing materials; proficient in use of Microsoft Office products and Adobe Creative Suite.Assertive, outgoing, hard-working, resourceful, as well as an independent thinker.Ability to supervise marketing, game operations and spirit squad staff/members.Ability to work early mornings, nights, weekends and holidays in addition to traditional business hours, is required.Possession of, or ability to obtain, a valid drivers' license NOTES: Additional Salary Information: Based on experience Internal Number: 2017-2619 Send Me Similar Jobs By Email About Rhode Island Athletics The University of Rhode Island is a NCAA Division I institution located in Kingston, Rhode Island. The vibrant campus is less than 10 miles away from several state beaches, 80 miles outside of Boston and 150 miles outside of New York City. The athletic department is a member of the Atlantic 10 conference and a Football Championship Subdivision (FCS) member of the Colonial Athletic Association. The Men's and Women's basketball teams play in the Ryan Center which is a Spectra managed facility. More Jobs Like This Associate Director of Athletics , Marketing, Fan and Donor Engagement Manhattan College Bronx, New York 2 Days Ago Director of Marketing & Creative Services Portland State University Portland, Oregon 6 Days Ago Assistant/ Associate Director, Marketing & Fan Engagement Boston College Chestnut Hill, Massachusetts 1 Week Ago Back to top Help is on the way! We're sorry you are having trouble applying for this job. 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Andy Timmons X- Static
X-Static! Andy Timmons Interview: Shreds, Now and Then
Life certainly throws a few curveballs toward the plate of any determined musician. The play by play of how guitarist Andy Timmons ' born and raised in a small town in Indiana, one-time MTV hero of the early-'90s hair-metal scene, more recent sideman to Olivia Newton-John and LeAnn Rimes ' found his way to shredder heaven on Steve Vai's Favored Nations label is certainly an interesting tale. Along the way Timmons has definitely learned a thing or two about the music industry, and he's willing to talk. He admits he took some grief from his long-time friends when he joined the pretty boys in Danger Danger in the late '80s (though opening for KISS on two tours wasn't so bad), but he is absolutely deserving of a serious listen these days, and none other than Steve Vai says so.
Timmons, schooled in be-bop jazz and a dabbler in many musical styles, has just released his Favored Nations debut, and it rips. A compilation of some of his best tracks from two solo discs never widely distributed in the States, plus five new cuts, makes That Was Then, This Is Now (The Best of X-tacy) a truly inspired collection. Listen to the incredible 'Farmer Sez' and the bizarre 'Donna Lee' for proof.
In this in-depth Guitar.com interview, Andy details how hard work, chance meetings, and playing from the heart have kept the bills paid and his fingers on the frets.
Guitar.com: Andy, tell us how you hooked up with Steve Vai and his label Favored Nations?
Timmons: Steve and I first met about 1988. He was coming through Dallas with David Lee Roth. He was on tour and he had booked the studio out to edit a song that was going to radio, off that album. And it happened to be the studio where I had just recorded 'It's Getting Better,' which was my first instrumental recording. And the studio told me 'Steve Vai is going to be here. Nobody knows about it, but come down and maybe you'll meet him.' So I was a big fan of 'The Attitude Song' and 'Blue Powder' and all that. So he was there and he had finished editing his track in studio B, and they had studio A set up to do a presentation for him in their big studio, and they had my song cued up to play for him, because we had just finished it there. So he's sitting there listening to the track and looking over at me going, 'So this is you?' And groovin' and nodding his head. And he said, 'Now I know who I'll recommend if I ever leave David's band.' And I was like, 'Wow!'
I'm not even sure if he remembers that snippet, but fast forward to the early '90s when I became an Ibanez endorsee, and we started bumping into each other at the NAMM shows. We did a show together in 1993 called the Axe Attack, where it was all the Ibanez endorsees: Steve, Joe Satriani, Reb Beach, Paul Gilbert, and all these guys. And I had a guy at Ibanez that wasn't a Danger Danger fan, obviously, but he was trying to promote me as a solo guitarist. So he put me in the house band with drummer Simon Phillips and bassist Gerald Veasley. That's how I met Simon for the first time. And so Steve and I played together. And then in '97 for the 90th anniversary of Hoshino, which is the Ibanez company, we did a concert together in Japan. And every time G3 comes through Dallas they invite me to come out and play. So it's kind of one of those repeated little jams and meetings.
A couple years ago he started telling me about this record label he was going to form, and maybe we could do something together. So it worked out timing-wise to compile a record and get it out there. The initial thought was that he wanted to re-release my first two CDs (ear X-tacy and ear X-tacy 2) in their entirety and make it a double CD. But after thinking about it, we decided to take the best tracks, record some new stuff, and put it out that way. That seems to be working pretty well. There are a certain number of fans that may already have those first records. So we re-mastered those tracks, and added some new stuff. It would be nice to think that some of the older tracks will find a new audience for the first time. I've really never had a proper record deal for my solo stuff in the States. It's all been Europe and Japan. I'm getting calls from people across the States saying they saw my record in the stores. So I'm thrilled about that. Previously they had put my record out in the states, but with very limited distribution, mostly in the Southwest and Texas.
Guitar.com: Which are the five new tracks?
Timmons: The five new ones are the first four tracks on the CD, and then the surf track, which is called 'Donna Lee.' It's a be-bop tune played in the style of Dick Dale.
Guitar.com: I was wondering about that, 'cause I'm into surf stuff, and I was thinking, 'Man, this is a pretty twisted surf tune.'
Timmons: Yeah. It's a Charlie Parker be-bop head, a jazz tune. And I thought, let's see what happens if we twist it into a surf tune. And that's the only time we've ever played it live, at that gig a couple years ago. That's just a board tape that was made that night. And I thought, 'Hey, this sounds pretty cool, and this is what I'm into right now, so I'm going to try to sneak it on the record.' It's a huge joke. For anyone who is familiar with the be-bop tune, it just adds that much more humor to it, 'cause nobody would expect to hear it done in that style. It was pretty funny. I played it on an old Fender Twin with a separate reverb tank. It's got a bit much reverb on it, but it works well. And it's got an old Ibanez Talman setup with .012s on it. So it gets the extra twang effect.
Guitar.com: 'Farmer Sez' is just ripping!
Timmons: What's funny about that is that I've never played a lot of country. But to me, all that track really is ' I've got an old Tele ' and it's really just a bunch of be-bop lines. That's kind of what a lot of those Nashville guys are doing anyway, all that chicken pickin' stuff is all kind of related. Be-bop and bluegrass and the country style are all kind of related. It's all the same kind of connected lines. You just add a spongy Tele sound to it and there you go, it's kind of a country thing. But that's a fun recording. I'm glad we did that when we did it.
Guitar.com: What is your main guitar these days?
Timmons: My main guitar since '94 has been a custom Ibanez, which eventually was released as a signature model in Japan and Europe. It's a Maple neck; Alder body; one humbucker, two single-coil guitar. We're working on a new guitar right now, and I'm about to open the case I received in the mail right before you called. They've got a new tremolo system that I'm trying out. I've been using the Wilkinson system, but Ibanez is coming out with something that I think I like even better. It seems to feel good, so I'm anxious to check this out. But this guitar is made out of mahogany. That's the guitar I used on a track called 'Super '70s' and 'Beautiful, Strange.' That's the new signature model that we're working on. We're going to try to get it released later this year.
Rig-wise, it changes every gig, it seems. I've been using a VHT Pitbull amp for a lot of stuff, A/B'ing to a pair of Mesa/Boogie Maverick 30 watt amps for the clean side. I've still got the Laney VH 100 that I used on a couple tracks on the new record, and live sometimes. I'm always kind of still looking, still trying to find the right thing.
Guitar.com: It never ends, does it?
Timmons: No. That's the blessing and the curse.
Guitar.com: Do you use pedals and effects?
Timmons: Absolutely. I've always got [depending on the gig] a volume pedal with a tuner in line before the amp. But I haven't been in tune since 1978, and I'm still trying (laughs). I tune in between every song, so I can turn the volume pedal down and go to the tuner. I have an old Vox wah, and an old (Ibanez) Tube Screamer, and always some sort of echo and delay thing, either in the loop, or before the amp if I'm using a pedal for distortion. The best thing I've found recently is the old Chandler digital echo. That's definitely the warmest, tape- sounding echo I've heard. I wanted to go with tape but I've had so much trouble with the machines breaking all the time. And I'm not much of a tech head at all, so for me to have to be messing with stuff, I'm just going to go with something that sounds decent. And that Chandler thing, they don't make them anymore, so they're kind of hard to find. Every time I get an extra $2 I've got to buy something. It's the junkie thing. But I can quit any time (laughs).
Guitar.com: What kind of picks and strings do you use?
Timmons: I use D'Addario's, .010 to .046. And I've changed picks several times over the years, but I'm back to using the Tortex H-3s, the little, tiny guys. They're not the best sounding picks, but for whatever reason, my time and my groove and my accuracy are much better with those. I'd switched to the jazz 3 XLs for awhile, and the tone is better, but I was sucking all the time. So I went to those older picks and there I was. It's a tradeoff. I love Fender extra heavy picks, there's a tone about them. But my personality seems to come out more when I've got the Tortex H3s.
Guitar.com: So are you going to hit the road with this CD?
Timmons: That's the hope. The rest of the year is filled out pretty well. I'm going to Asia for a few weeks, mainly to promote this new guitar that we're developing. I'm going to China for the first time, for about five gigs. I've been to Hong Kong with Olivia before, but this is the first time into mainland China, so it should be very interesting.
Guitar.com: What cities?
Timmons: Shanghai, and some stuff I can't pronounce. These are like clinics, and I'll perform. I'll go into a music store, I've got my backing tracks on a CD, and I'll go play and meet some folks.
Guitar.com: They have music stores in mainland China where they sell Ibanez guitars?
Timmons: I guess so, yeah.
Guitar.com: One day those people will be just like us!
Timmons: Slowly but surely (laughs).
Guitar.com: So where else do you go?
Timmons: I'm going to Indonesia for three gigs, Taiwan for a gig, and then to Japan for five days.
Guitar.com: What do you go through in your clinics?
Timmons: I always structure the thing so that I'm playing as much as possible. I've got tracks so that I can do the whole gig playing if necessary. But I always end up doing a thing in the middle where I take questions from the audience. There was one point where I thought that maybe I should structure things, like 'Here's a sheet of licks.' But that just doesn't seem to be the right thing because you're going to get a few accomplished players, you're going to get some fans, you're going to get some beginners. So I think keeping it loose and open is always the best way. And I can always gauge it for each crowd. When you start getting technical, you're going to lose some folks after awhile. So, it's always a general thing because people want to know about your gear, your guitar, your influences, and specific songs or licks. But also I talk a lot about the music business, and they want to hear some stories from the road. So I try to keep it entertaining more than anything. There are always people who want specific information, and if they're brave enough to ask the question, I'll get into whatever they want.
Guitar.com: And you do a lot in Japan, don't you?
Timmons: Yeah, this will be like my eighth or ninth trip over there. Danger Danger did two tours there, in '90 and '92. I did a tour there with Simon Phillips. I've done a couple of clinics. I still haven't had my own band over there yet. So I'm hoping that by early next year, this record will help build things and we'll get over there with a live band. We've never really toured together. We did a few dates in Europe a couple of years ago. For touring it's so expensive. I've always tended to make my living by touring with large organizations, as a side member, or to do studio stuff. So now with a proper label deal and proper distribution, it makes more sense for me to get out and tour. So I've got lots of irons in the fire and I'm trying to find the right thing to do.
Guitar.com: Andy, something in your bio caught my eye, and seems pertinent to your career path: You said that when you were 13 you realized that making it in a rock band was such a long shot, and that you had better figure out other ways of making a living playing guitar. You've pretty much done that, haven't you?
Timmons: It was fortunate that I had that foresight at such a young age. I don't know how that epiphany happened, but it just did. I guess growing up in kind of a small town in Indiana, the thought of really making it just didn't seem like a possibility. But I was reading Guitar Player magazine and learning about studio players, from Tommy Tedesco, to Larry Carlton and Steve Lukather. And I thought, 'That's what I'd love to do.' I was into rock 'n' roll, but when I started taking lessons a couple years later I started really getting into jazz and other styles. Anything that involved guitar just really turned me on. So I got into all different styles, and I thought I'd eventually learn to read, and get into that kind of work where I could go in and play on peoples' records. That's kind of been a saving grace for me in between my own music and different bands that I've been in and out of. To do studio work, but also to do gigs that aren't just straight ahead rock 'n' roll gigs. I can do a jazz gig, or casuals, where you've got to know a zillion songs. So I've always been able to somehow make a living, playing guitar, and I feel very fortunate. But it is certainly through a lot of hard work as well.
Guitar.com: And when you're doing studio sessions, isn't that where you pick up a lot of other work, like touring gigs?
Timmons: Yeah, some have come from that. But largely the touring gigs have happened from word of mouth. That's how the Danger Danger thing came about, or with LeAnn Rimes or Olivia Newton-John. It's all been through reputation, and somebody knowing somebody that recommends me.
Guitar.com: How do you recommend a player get their foot in the door with studio work?
Timmons: These days it's hard to say. You've just got to find out who in the area is doing what kind of production, whether it's jingle work, or local record production. And if you have a reputation in the area, if you're playing out live, that helps. And if you get a good demo package together, that helps too. Every producer is different, as far as what their needs are. There are some decent guitar samples out there, but there are so many sessions I do that the guitar is the only live instrument on the gig. It's sad. And it's such a treat when you get to do sessions and there's an actual rhythm section. But getting a good demo package together with a nice variety of styles that you're able to play well is helpful.
Guitar.com: You have a manager getting you work too, right?
Timmons: No. I've been handling everything myself to this point. That's the next step, finding somebody that has a bit of weight. That's a whole other can of worms. So I'm really in a spot now where I'm looking for the right guy.
Guitar.com: Being a person that handles everything himself, what advice do you have for young players about getting into the business?
Timmons: There's no one easy thing to recommend. And maybe I'm the wrong guy to ask. I kind of cut myself off from the business a little bit. From what I went through with Danger Danger, I learned so much about the industry, and how much the industry isn't involved in music ' it's just a huge business. There's a lot of turn offs for me with that. I just wanted to make the music I wanted to make, and after four years in New York with Danger Danger, I ended gravitating back to my home in Texas and put out my own records on my own.
But, man, what would I recommend? The best thing musically is to do what comes naturally to you, what you believe in the most. That's the thing I learned with Danger Danger: It was a band that was chasing the tails of the big bands of the time. By the time they got it together, it was just too late. You can't look at the charts and say, 'This music is big, let me do this.' By the time you get it together it's over. And then people are going to know too, if it's not the real deal. So just do what's in your heart, first and foremost. And obviously it's very helpful if you can find management or a lawyer to represent you, if your goal is to get a label deal and all that. But these days, is that the thing to go for' It's really hard to figure out where the industry is right now as far as labels and indies and the Internet, and how they all affect each other.
I think there's quite a bit you can do on your own, by developing a website, and promoting it on your own, and trying to get people to come check out your music. It's hard to say. You've just got to get your music together, and get out and play some gigs in your area. The bigger the buzz you can get, the better, wherever you are. It doesn't have to be L.A. or New York. I'm convinced that you could be in Enid, Oklahoma, and still become huge. If your music is great, people are going to find out about it.
Guitar.com: I think where a lot of young musicians fail themselves is promotion. They just don't work hard enough at it.
Timmons: Yeah, you can't over-promote. You have to figure out what is the most beneficial thing, whether it's flyering or emailing, or whatever you can do to promote. And for me, I have to say I've never been the best at self-promotion, because I just want to make great music. But OK, now if I want it to get heard, I have to promote it. Promotion skills are a great thing to develop. And one thing that I've learned is, if there's anything you want to do in life, find somebody that's doing that, and kind of model yourself after them, not musically speaking. If there's a band from your area that became successful, what did they do? How did they get to that point? Was it through promotion? Was it through particular gigs? Was it all their music or was it image? By the time I joined Danger Danger, I'd never really considered image at all. I wasn't concerned about it. And then I got that gig and the first thing they said to me was, 'Well, don't cut your hair, and you might want to lose five pounds.' I had never thought about that, it didn't matter to me. But that was a band that was very much based on image, all over Metal Edge magazine and MTV. So, OK, I played the game for awhile.
Guitar.com: Regardless of how much your friends may have bashed you, it must have been fun.
Timmons: It was an awesome, awesome opportunity. Musically I got some s--t from people who knew my music, and where I was at musically. But after making that statement in my teens about making it in a rock band being such a long shot ' there I was, in a band touring, and opening on two different tours for KISS. That's the childhood fantasy! The first concert I ever saw was the KISS Destroyer tour in '76, and I was in the very last row of the arena going, 'Man, this is what I wanna do!' So for something like that to happen, regardless of the s--t that I went through from the industry or whatever, it was all completely worth it. It was a huge education, and yeah, just some great times with the boys from New York. It was pretty cool.
Guitar.com: Well, it's been a long road, since your MTV premier with Danger Danger more than a decade ago, hasn't it Andy?
Timmons: Yeah it has been. And let's not wait 15 years before we talk again!


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The Hunter 33 MKII may be the perfect boat for couples and families who want to weekend and take extended vacations in a very affordable package.
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I have an 18 month old daughter and am currently 30 weeks pregnant. I am planning on giving birth to this baby at a birth center who is very encouraging of involving siblings in the birth process. We really have no choice but to plan on having her there through the whole process. My mom will be flying into town for 4 days around my due date, but who knows when I'll go into labor! We have no friends who we can have watch her (we don't leave her with ANYONE lol). We WANT to include her and have her present for the birth :)
I'm just not sure how to prepare her for it? Realistically what can we expect her to understand? How do children at her age generally respond to the birth process?
Thanks to anyone who has any advice :)
I can totally understand not wanting to part with your child during your birth. I think it is a great idea to keep her close during this great family event. I think, though, it might be a good idea if she is going to be there to have a sort of suite setup where she can go into an adjoining room. It totally depends on your personalities ... But I personally think 2 years is pretty young for some of the details of birth and she will unable to prepare and unable to process the event in a healthy manner. If she were older I would say books and talking and some mild pictures, but she isn't to that level of comprehension of a 4 or 5 year old.
For example tonight at dinner my husband bit his tongue and while we were dealing with the blood and putting gauze on it our 16month old daughter was quietly freaking out and making the most horrified faces while sitting with us at the table. My husband and I were surprised at all the blood and he was in a lot of pain and grimacing but no major theatrics so I didn't even think it would bother her. After tending to him I looked at her and she was so uncomfortable and scared but we didn't realize it because she wasn't screaming or crying like she usually does when she wants comfort. I know she would never be able to see the late stages of labor and be ok about it.
I, personally, would get a double room and keep her close when you can maintain your calm but once you start to transition or if you get stressed out I think the young ones should go grab a snack or a nap or play nearby. Labor requires a lot of focus and while I fully agree they should be kept close and know what is going on I wouldn't exactly let them see the more dramatic phases of birth at that age.
Congrats on the little one!
My son was 20 months old when my daughter was born and we had a homebirth. We did have someone on hand to help with him in case we needed it, but it turned out he slept through the whole birth (I went into labor right after he went to bed at 7pm and she was born just after 10pm). So I have no personal experience as to how a 20 month old may respond to actually being at the birth, but I can tell you what we did to prepare.
We watched a ton of birth videos (youtube has great clips you can just search "unassisted birth" or "homebirth"), we read lots of "big brother books" and we talked about the baby a ton. I think by the time my son was 17 months old, he completely understood that a baby was in mommy's belly that would be his little sister. I think he had an idea that the baby would come out of my vagina during birth, but I don't know how solid his understanding of all that was. We also had a name for our daughter picked out, so it was nice to call her baby Emma and then while we were watching birth videos I would compare the babies and say "look that mama just gave birth to her baby like I'm going to give birth to baby Emma!"
I am very grateful my birth went the way it did and my son slept through it, because it turned out to be so fast and intense I really don't think I could have dealt with him being around. It's all personal preference though, and it's different for each person and each birth. I would try to have some kind of backup, just in case you need it. Even if it's just to hire a doula to take her in the other room if need be. But whatever you're comfortable with. I'm sure you'll be fine no matter what happens. Congrats! Two under two is quite the adventure :)
Congrats on the upcoming LO! What a great thread! I loved reading the responses and can't wait to see more ppl share their experiences and/or thoughts.
My dd was a bit older, just three days shy of 2 when her little brother was born. We had a homebirth, and planned to have her around as long as she was comfortable. We read books and watched youtube videos, and talked a lot about it, but she really didn't "get" it. I wound up going into labour after she was asleep, and the babe was born at 1am. She DID wake up though. My mom was in rocking her through the actual birth.
I wasn't with it enough to notice or care if dd was there or not (insanely fast and intense labour), so people kept her in her own room. I was a really quiet birther with dd, but shocked myself with how loud I was this time around. Also, we had to deal with a shoulder dystocia so there was a bit of a panic as I yelled about ds being stuck. Like I said, dd missed actually seeing the birth, but I feel really bad about the whole thing because she was seriously affected. I don't know if it would have been better if she could have actually seen things or not. She wouldn't look at me or the baby post birth. She wouldn't let me touch her, and she just hid her face in dh's chest. She was really out of sorts and I think she was quite fearful.
If I could go back, I would have her come out while I was in earlier labour to see me and know that I was ok. And then I think I would have gotten someone to take her out for a walk or something once I got hollery.
You absolutely need someone there to look after her while you're labouring/birthing. Is there no one you know who you would trust to entertain her at the birth center and/or take her out of the room if needed? I'm sure many people would be honoured to be asked if your mom isn't there for the actual day!
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Benefit for Youtube Sensation Keenan Cahill
Subscribe to MIX 108 on
Either you love his videos, or you don't. I'm a lover, and I can't believe how one kid lip-synching the most popular songs on the radio grew to be such a huge internet sensation. It didn't stop at 50 Cent, David Guetta, or any other of the HUGE musical icons joining Keenan in his videos. Now he has the MLB and the San Francisco Giants backing him up on "Dynamite." Which is also the name of the benefit they're throwing for him! From Yahoo! Sports:
Keenan Cahill is a 16-year-old from Elmhurst, Ill., who has a rare disorder named Maroteaux-Lamy Syndrome. The complex condition comes with a host of problems – including stunted growth – and fewer than 1,100 people are estimated to have it worldwide. The drugs used to treat it are among the most expensive in the world with one prescription costing about $350,000 per year.
Wilson and Ross will be hosting "Dynamite: A Fundraiser for Keenan Cahill" during the game against the Florida Marlins on May 25.


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Parent-Child Chicken Salad.
This pretty little salad just happens to be one of our go-to meals around here. I almost always have greens, carrots, chicken and eggs on hand, so it is a really easy thing to pull together. (Throw a teeny bit of cheddar on there and some homemade croutons and oh, YUM!)
Most of my crew are Ranch dressing eaters, but me and my girl prefer my signature balsamic vinaigrette, which consists of balsamic vinegar, honey, salt, pepper and olive oil. Not original you say? Well, okay. I concede that point. Still, it's good.
And the name is inspired by our good buddies Brandon and Maddy, who showed me how to make a Japanese dish containing chicken and eggs a couple years ago. Thus, the label "parent-child," in case you were a little slow on the uptake on that one. (I only say that because it took me a second, too)
Next time you have a little bit of chicken leftover, you should give this a go. I mean, I'm not telling you what to do, but you really should. (I've even used chicken nuggets before, and no one turned their noses up at it. It's very forgiving)
Also, on an almost completely unrelated note, this list is going on my fridge. As far as shopping around what's in season and knowing what produce will get me the most bang for my buck, I think this could really save us some moo la.


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Jonas Bro Puts House Up On Airbnb
By JACKIE WILLIS
January 30, 2014
How much does it cost to live like the Jonas Brothers?
Kevin Jonas and his wife Danielle are renting out their Denville, New Jersey home on Airbnb over the course of the Super Bowl XLVIII festivities (Jan. 28-Feb. 9) for the bargain price of $20,000 per night.
So why did the couple decide to rent out their house? Kevin explains on his Airbnb post: "We are currently expecting our first baby girl and have moved out of our home to make room for our new family of three. But before we sold the house, we wanted to offer up the opportunity for both music and football fans to have the chance to stay there for the Super Bowl. And I'm even throwing in four tickets to the big game!"
RELATED PICS: InstaGrab: What Are the Stars Sharing?
As the 26-year-old musician points out, the six-bedroom house is "just a short drive" from MetLife Stadium where the Super Bowl is being held, and his home also features a "home theater with stadium seating and a 3-D projector" for those that want to stay in and view the big game.
Jonas concludes, "If that's not enough, I'll also be donating a portion of the proceeds to my charity -- Change for Children."
What do you think of the Jonas brother using Airbnb?


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Quote from: time-killer-games on November 21, 2016, 07:59:47 AMWhat's next? The ENIGMA project finally dies. It's been suffering severed legs and continual blood loss over the years. It's for the best. Your state of mind amazes me.
What's next? The ENIGMA project finally dies. It's been suffering severed legs and continual blood loss over the years. It's for the best.
Quote from: Yambam on November 21, 2016, 12:49:49 PMQuote from: time-killer-games on November 21, 2016, 07:59:47 AMWhat's next? The ENIGMA project finally dies. It's been suffering severed legs and continual blood loss over the years. It's for the best. Your state of mind amazes me.In other words ENIGMA is long past its expiration date.
GameMaker is an environment in which all tools are provided for your average game developer. One thing, I feel, is missing in these tools... which is a word processor with simple formatting for taking notes, checking off stuff, etc.-- Me, in a topic I posted in earlier today
1. Overworlds, as I've expanded on already in this thread, are very important to me. What you call "constellations" I believe is what I was demonstrating with Super Metroid's map.
2. Color Palettes... I recall mentioning something like this on the Wiki; color palettes may be old tech, but along with vector graphics, I believe they're a great step toward the next generation of game graphics.
3. Sound Environments... I'm not completely sure what you mean, here. You might be describing two things. If you're talking about loading/unloading sound resources for you as you enter different rooms, I didn't just want to do this for sounds, but rather for all resources; the ability to load resources quickly as they become needed for an environment is frequently critical. If you mean sounds that play when you enter a certain region, this would be another great feature of the region-based scripting I described earlier. We could specialize it in the UI for playing/looping sounds; that would be cool.
4. The instance key/value property editor is a must. As I said, though, we also need the room and overworld editors to understand instance values, positional values, bounding box/radius values, and vectors. These particular value types should be represented in the room/overworld editor visually.
5. You may have just unified multiple meanings of "category" that I describe separately. Similar to (3), I wanted labels for resources, so that you can load and unload cave/grass/ice/dungeon resources. But I think what you're touching on, here, is traits. Traits are a kind of design pattern where you can add canned functionality to objects, essentially. In fact, I believe an interface (or Protocol) meets most of the use-cases you describe. These are an important language feature, and I agree they are something the object editor should represent visually. In particular, multiple inheritance allows you to do the sorts of things you're describing. As long as this hierarchy was represented in the object editor, it would be trivial to have the room editor enable editing these "categories" simply as the actual parent object that owns them. Right now, you can have, for example, obj_gold, obj_gem, and obj_treasure_chest all inherit from a parent object, obj_treasure; you can then use constructs such as with() or snippets like instance_nearest(x, y, obj_treasure) to treat all types of treasure as the same, and consider them equally. Generalizing this with multiple inheritance and a concept of traits would accomplish what you seem to be looking for. I've said a lot about this on the Wiki, as well.
I'm not sure how I feel about built-in game templates vs a library of examples. I think a bank of community-contributed examples meets that particular need. This project is sorely lacking documentation (and tests, which can serve as examples). That will be another focus of my attention....
The one thing I will take from Harri's remarks, regarding the direction of this project, is how important it is that the IDE is not the ONLY way to develop with the engine. I believe that if I could conjure up code for an IDE that suits my tastes, Harri would never want to use anything else. But since no IDE will fit everyone's workflow, and some will inevitably prefer their own code or image editors, it's important that the compiler is invocable without an IDE.
ENIGMA isn't dead yet but it's only chance of succeeding still is if Josh's long-lost unemployed twin stumbles across the project and decides to be fully committed to it. Only then it may stand a fighting chance.
So to confirm. Does this mean that ENIGMA for now lacks any active maintainers?
I'm assuming that now that the GL3.3Normal branch has been merged, there's at least SOME of the functionality that TheExDeus has written up in the past progress reports, right? I feel like that sort of stuff should probably be documented in some way or form, or at least given a few examples. New functionality is there, but nobody knows how to use them unless they take the time and hours to experiment or search through the source code.
A part of me thinks that there should be something done about the vision of the engine, in general. Initially, it was made to replicate GameMaker's functionality, then, later on, it was decided to slowly make it its own thing. Now it sort of sits in limbo between the two. My general question with this is: What to do? Which direction to poke the engine towards? Personally, I think it should be the latter, but without entirely shedding away from all of the stuff GameMaker offered. I've taken a look at some of the progress stuff at the Progress page of the site, and while I don't know when has it last been updated, how much of it still applies? I honestly don't know. I feel like the general ToDo list on the page should be updated to include some of the more critical things that's apparently bothering the core engine, such as the parser, or the fact that the debugger isn't entirely reliable.
I hope you don't mind my rambling all too much, just that it's a little confusing for a guy like me as it stands now, among developers who know a lot better of the engine than I do.
I mean something like a place where you can 'test' different sounds and organize them into cave/grass/ice/dungeon, like you said.
Don't forget that 'manually' having to edit things like image_[xy]scale is very tedious in comparison to having the right tools for scaling/translation/flipping (and the like) at hand.
I'm not sure, how we are going to make these tests? This does remind me of a very useful feature of LilyPond/Frescobaldi's notation reference (it's an open-source music type-setting software). The (generated) reference shows graphical representations of the music, the snippets of which can be downloaded and opened in Frescobaldi, which is to LilyPond as GameMaker is to GML.
What I meant with my paragraph under the image was just a means of telling the IDE what you're going to make. It will then leave out everything except the features you need to get started. Later on you could check some boxes in the preferences in order to add some unique elements (like adding an overworld to a previously specified puzzle game). I'm not too sure of this idea though. It could also just make things more obscure.
Also, everyone's thinking about an IDE, and if I may say I have a vision where there is no IDE but a set of independent tools, a resource tree editor, an editor for rooms, an editor for objects, an editor for sprites etc so that people can swap out tools easily.
For real though, I'd very much like to contribute more, the issue is that it's not clear what actually needs to be done (aside from bugfixes obv), there's not enough of a detailed plan, just ideas being thrown around with very little idea about how they would actually fit into the project. I've been spending time trying to teach myself the codebase for a while now (mostly SHELL, still don't have much intimate knowledge of the compiler and JDI is still something I don't really understand).


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A concise and easily accessible introduction to the subject based on the author's deep knowledge of the subject. This is an expanded version of his contribution to the much larger survey of Ottoman Jerusalem, The Living City 1517 - 1917 also published by the Altajir Trust.
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This book contains many drawings, black and white plates and 8 pages in colour.