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net-profiles allows you to start some profiles on boot.
net-profiles allows you to start some profiles on boot.
In order to do that you need to list the /etc/network.d/
In order to do that you need to list the /etc/network.d/ profiles you want netcfg to try at boot in the NETWORKS=() line in /etc/rc.conf.
NETWORKS=(home mywireless)
NETWORKS=(home mywireless)
Revision as of 13:27, 26 April 2009
Template:I18n links start Template:I18n entry Template:I18n entry Template:I18n entry Template:I18n links end
- 1 Step 1: Install
- 2 Step 2: Create the profile(s)
- 3 Step 3: Connect
- 4 Troubleshooting
- 4.1 Wireless connections
- 4.2 Network unavailable
- 4.3 Wireless Association failed
- 4.4 Unable to get IP address with DHCP
- 4.5 Not a valid connection, check spelling or look at examples
- 4.6 Using a string WEP key
- 4.7 Ralink legacy drivers rt2500, rt2400 that use iwpriv
- 4.8 Passing arguments to iwconfig before connecting
- 4.9 Driver Quirks (netcfg 2.1 and later)
- 4.10 It still doesn't work, what do I do ?
- 5 Step 4: Connecting on boot
- 7 Supplementary tools
Step 1: Install
Network profiles are handled by the bash scripts available in the netcfg package.
# pacman -Sy core/netcfg
For information relating to the latest development version of netcfg, see Network Profiles development
Step 2: Create the profile(s)
A profile is a single text file in /etc/network.d which defines variables used by netcfg. The file name will become the name of the profile, and can be anything you wish, it is not a setting involved in the connection.
The easiest way to create a new profile is to copy one of the example profiles from /etc/network.d/examples and edit it to fit with your network.
Below are some examples of these profiles:
Simple ethernet example
CONNECTION="ethernet" DESCRIPTION="A very basic ethernet profile, using dhcp" INTERFACE=eth0 IP="dhcp" DHCP_TIMEOUT=10
Wireless examples
CONNECTION="wireless" INTERFACE=wlan0 SCAN="yes" SECURITY="wep" ESSID=MyNetwork KEY="1234567890" IP="dhcp"
CONNECTION="wireless" INTERFACE=wlan0 SCAN="yes" SECURITY="wpa" ESSID=mynetwork KEY="SomePasskey" IP="dhcp"
Please note that the last configuration also works for WPA2 encription connections.
More examples
For more examples and further options see the files in /etc/network.d/examples.
Proxy settings
Just use the PRE_UP value to set environment variables as described in Proxy settings. Here is an example:
PRE_UP="http_proxy=http://10.203.0.1:5187/; export http_proxy;"
- you up a then b
- you down a
Step 3: Connect
To connect a profile just execute the following command as root:
# netcfg <profile-name>
Wireless connections
For wireless connections, make sure the required drivers and firmwares are installed as explained in Wireless Setup.
This is typically one of:
- Out of range
- Driver issue (See Driver Quirks above)
- Trying to connect to a hidden network
If you know your network is hidden, set
Wireless Association failed
This is typically one of:
- Out of range/reception
- Incorrect configuration
- Invalid key
- Driver problem (See Driver Quirks above)
If it is a range problem, increasing TIMEOUT= can help.
Unable to get IP address with DHCP
This is typically one of:
- Out of range/reception
Try increasing DHCP_TIMEOUT
Not a valid connection, check spelling or look at examples
You must set CONNECTION= to "ethernet", "ppp", or "wireless".
Using a string WEP key
This is for a STRING WEP key, not a HEX WEP key, not a WPA key.
Ralink legacy drivers rt2500, rt2400 that use iwpriv
I have no intention of supporting these. rt2x00 is supported, however, and will replace these.
If you must use them, create a shell script that runs the needed iwpriv commands and put its path in PRE_UP=""
Passing arguments to iwconfig before connecting
Where <arguments> can be any valid iwconfig argument. The script then runs "iwconfig $INTERFACE $IWCONFIG"
For example, setting bssid/ap mac:
IWCONFIG="ap 12:34:56:78:90:12"
This supercedes the IWOPTS and WEP_OPTS options which were incompletely implemented.
Driver Quirks (netcfg 2.1 and later)
You probably do not need these, ensure your configuration is correct and sane before you attempt to use any quirks
Some drivers behave oddly and need workarounds to connect. These have to be enabled manually. They're best determined by reading the forums, seeing what others have used, and, if that fails, trial and error. They can be combined.
- prescan - Run "iwlist $INTERFACE scan" before attempting to connect (Some broadcom)
- preessid - Run "iwconfig $INTERFACE essid $ESSID" before attempting to connect. (Some ipw3945 and Intel PRO/Wireless 4965AGN)
- wpaessid - Same as previous, run before starting wpa_supplicant
- predown - Take interface down before association and then restore it after. (madwifi)
- postsleep - Sleep 1 second before checking if the association was successful
- postscan - Run "iwlist scan" after associating
For example
QUIRKS=(prescan preessid)
If you are having problems with DNS and DHCP, try adding to your profile:
This will tell netcfg to use dhcpcd instead of dhclient
If you get "Wireless Network Not Found" or "Association Failed" and have tried the above, try:
It still doesn't work, what do I do ?
If the FAQs below didn't solve your problem the next best place to go is the forums, or the mailing list.
To be able to determine what's wrong, we need information so when you post, make sure that you provide the following output:
- ALL OUTPUT FROM netcfg
- ALL OUTPUT FROM netcfg
- ALL OUTPUT FROM netcfg - this is absolutely cruicial to be able determine what went wrong. The message might be short or nonexistant, but it can mean a great deal.
- Your /etc/network.d network profiles - Also cruicial as many problems are simple config issues. Feel free to censor your wireless key.
- netcfg version
- lsmod
- iwconfig
Step 4: Connecting on boot
net-profiles allows you to start some profiles on boot.
In order to do that you need to list the /etc/network.d/ profiles you want netcfg to try at boot in the
NETWORKS=() line in /etc/rc.conf.
NETWORKS=(home mywireless)
You also need to add
net-profiles to the DAEMONS array, eg: DAEMONS=(... net-profiles ...).
net-profiles can also display a menu so you can pick which profile you want to set up. For that you just need to set NETWORKS= to menu (ie
You can also access that menu at any time by running
netcfg-menu in a terminal.
The dialog package is needed.
Automatic detection
net-auto is the second boot-time script of the netcfg package. Its function is to determine automatically which profile should be started.
net-auto reads the AUTO_NETWORKS=() line in /etc/rc.conf. For example:
AUTO_NETWORKS=(auto-wireless wlan0)
net-profiles it needs to be added to the DAEMONS=() line.
To run after boot:
# /usr/bin/netcfg-auto-wireless $interface
A Qt-based netcfg frontend called ArchAssistant exists. It proposes to manage & connect/disconnect profiles from a systray icon. Automatic wireless detection is also available. This tool is particularly useful for laptop users.
Links: archassistant on AUR | archassistant on kde-apps.org | archassistant package on archlinux.fr i686 and x86_64
Supplementary tools
There is a console tool for selecting wireless networks "in real-time" (in NetworkManager manner) called
wifi-select. The tool is convinient for use in wifi-cafe or another places you are visiting for the first (and maybe the last) time. Then you don't need to create the file-profile for a new network, just type
sudo wifi-select wlan0 and choose the network you need.
The tool is currently packaged and available in AUR (
yaourt -S wifi-select).
It works as follows:
- parses
iwlist scanresults and presents list of networks along with its security settings (wpa/wep/none) using
- if user selects network with existing profile -- just use this profile to connect with
- if user selects a new network (for example network from wifi-cafe he currently visited),
wifi-selectautomatically generates new profile with corresponding
$SECURITYand asks for the key (if needed). It uses DHCP as
$IPby default
- then, if connection succeeds, profile is saved for later usage
- if connection fails, user is asked if he/she wants to keep generated profile for further usage (for example to change
$IPto static or adjust some additional options)
Forum thread related to development of
wifi-select | wifi-select on AUR | wifi-select mercurial repository
Why doesnt netcfg do x?
netcfg doesn't need to. It connects to networks.
But netcfg is super modular and re-usable. Have a look at /usr/lib/networks/ -- heaps of reusable functions for your own scripts.
Why doesn't netcfg behave in this way? It makes more sense
netcfg doesn't enforce any rules. It's task is to connect to networks. It doesn't impose any heuristics, like 'disconnect from wireless if ethernet is connected'.
If you want behaviour like that, it'd be really easy to write a separate tool over netcfg. See the question above.
Do I still need x when I'm using netcfg?
- /etc/hosts: Yes, you still need this, this is important. Don't remove your hostname from this otherwise you'll have some odd problems.
- HOSTNAME= in /etc/rc.conf: It's strongly recommended you keep this, otherwise no hostname will be set if a profile fails
- DAEMONS=(network) and INTERFACES=() in /etc/rc.conf: If you've setup all your networks with netcfg instead, yes, you can remove this. You can also safely remove lo, it's been moved into rc.sysinit.
- lo: This is now in rc.sysinit, you don't need to configure it anywhere.


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Guitar Player Magazine Interview - Multi-Dimensional Miracles: Carlos Santana Celebrates The Power Of Intangibles By Michael Molenda
IN ADDITION TO BEING A GREAT FRIEND TO GUITAR PLAYER OVER THE YEARS, Carlos Santana has endeavored to fire up the magazine's creative juices by hipping the staff to noteworthy under-the-radar guitarists, as well as sending us mix CDs full of music that has inspired him. Every few months, I'll receive a little package from his San Rafael, California, offices bearing something delightful, inspirational, or out-and-out humbling. It's kind of a one-way relationship, however, as Santana is so in tune with what's going on in every musical universe that it seems hopeless I would ever come across an artist, style, or technique that would surprise him. (I don't think my quest for the perfectly distorted punk-rock A chord qualifies as a "discovery of note.") Furthermore, his adventurous and inquisitive spirit leads him to consider much more about what it means to be a guitarist than one's choice of a favored style and the gear needed to construct a suitable tone.
So it wasn't really a surprise when Santana artfully dodged a discussion of his gear and tonal evolution in the wake of his new, dual-CD compilation, Multi-Dimensional Warrior [Columbia/Legacy]—a handpicked collection of vocal songs and instrumentals spanning nearly four decades of the guitarist's prodigious musical output.
"I'd like to talk about intangibles," he said when first contacted about this cover story. "I haven't changed my gear all that much since the last Guitar Player story [June '05], and I'd like to get beyond those physical things and think about the roles of the heart and mind in making music."
Santana was so excited about the concept that he proceeded to suggest several more article ideas, a few twists on the typical guitar book and lesson DVDs, and, I think, even a live-concert event. (It was a bit hard to keep up with the snappy tempo of his well-considered proposals.) And, trust me, when Carlos Santana is that thrilled about a subject, you go with it. So what follows is a bit of a different Guitar Player article, but one that is no less instructive or valuable than a treatise on tone and technique. Few artists in these pages have attempted to detail the messy and often inexplicable engines of imagination, inspiration, and creation. (The last time was likely Bill Nelson's "Chasing the Muse" feature in the March '04 issue.) By necessity, the discussion tends to leave the world of the pragmatic, and sails into areas that can be uncomfortable for many players—God, spirituality, openness, self-assessment, self- awareness, ego, habit, ambition, and the potential evil of comfort zones. But if a player seeks to truly jettison stylistic mimicry, and fight like a cornered jackal to develop a unique and personal musical fingerprint, then studying the creative ramifications of intangibles is an essential part of the mission. In this quest, you couldn't have a better guide and confidant than Carlos Santana.
What directed your selection of the songs on Multi- Dimensional Warrior??
What happened was that I had just come home from Hawaii, where I realized how Bob Marley's music was made. It's all from the islands and the clouds and the waves. It's very calm and peaceful and pure, and you can just focus on nothing—which is very difficult for the ego to do, because the ego has "ifs" and "buts" firing off all the time. And while I was not thinking about anything, I heard a voice say, "Carlos, go to your cassettes, records, and CDs, and compile a letter to your fans." I found myself drawn to music that didn't get heard anywhere near as much as Abraxas or Supernatural, as well as the desire to turn people on to freedom and the light within themselves—like Bob Marley and John Coltrane. Everything just came so naturally that it was like composing a love letter.
Some musicians might consider a "letter to their fans" to be a greatest hits package, but as you consciously avoided that approach, what does this collection represent for you??
Thank you for asking that. There's a part of me that loves learning from musicians such as John Lee Hooker, Jimmy Reed, B.B. King, and Miles Davis. But there's also a part of me that wants to invest—like Desmond Tutu or the Dalai Lama or Harry Belafonte— in the healing of the common man. So it's not enough for me to play music, learn from all these guys, and be recognized worldwide. I also want to serve—to be of service. We are capable of creating miracles ourselves, and the greatest miracle is to create a masterpiece of joy out of your life with no excuses. This is what led to the combination of songs on Multi-Dimensional Warrior—I wanted people to taste their own triumph through this music. In fact, I was amazed how many times the word "light" appears in all the songs with lyrics.
So I'm assuming the album title isn't just a clever turn of phrase??Oh, no [laughs]. When people have asked me to define "multi-dimensional," I say that it's not being stuck or stuck up. When you start thinking that you're superior or inferior— that's being stuck. Your fear has betrayed you. Being free is seeing the beauty of you in everybody else. You say, "I can see myself in this guy and that guy. I want to phrase like Otis Redding and Nat King Cole and Wes Montgomery." You see the connections between what you do, and what all the musicians before you have done, and between what every musician is doing right now. So I'm grateful that your magazine is here, because you remind people that we're all in it together. Guitar Player is multi-dimensional.
Could you elaborate on what you mean by saying "your fear has betrayed you?
"?Fear only has one agenda—to negate your beauty and your truth. Ego only has one agenda—to create death, destruction, and failure. That's the only function of the ego. We should compliment it, because at least it's predictable. E-g-o stands for "Etch God Out." But even an atheist can understand the need for wonderment. You don't have to believe in God. God believes in you. God could not care less if you call him Buddha, Allah, Jesus, or Krishna. The best part of you—that's what God is, and it is in all of us. It's called the spark of the divine.
Do you remember that scene in 2001: A Space Odyssey where the astronaut was being bombarded with all these colors? It's like some type of Coltrane solo, or Jimi when he's feeding back. That's what we call the stream of consciousness—which is actually the state of grace, because all is one and one is all. The mind is not equipped to understand that, because the mind likes to compartmentalize. The heart just takes it all in.
But how does a musician transcend compartmentalization? In many ways, we are driven to embrace specific styles such as rock or jazz or blues—which are large compartments—and then there are mini compartments such as scales, chords, and riffs.
?The thing I focus on—whether I'm playing with Kirk Hammett or John McLaughlin— is going straight to the heart. I go to mine first, because if I don't feel it, you're not going to feel it. I take a deep breath, and I remind myself that before I give it to you, I have to give it to myself. I have to receive it. It doesn't matter if I drink a shot of tequila, or half a glass of wine, or if I smoke a toke, or if I'm totally straight and just drinking water—none of that is going to get in my way. We are talking about intangibles now. The intangible is that thing you put your finger in, and it's wet and it gives you chills. It's half of the equation. It's not just the amplifier or the string. It's not Fender. It's not Gibson. It's not your technique, or Dorian scales, or even chords. When I am open to the intangibles, I can play with Buddy Guy and hold my own, because Buddy Guy is a hurricane, and if you're not playing from your heart, he will wash you out.
Although musicians talk about it a lot, I think the role of the heart in actual creative performance remains a huge mystery. A guitarist can more clearly understand technique. He or she can say, "Buddy Guy is over there, and I've practiced this blues scale forever. I can fly over the notes, add a few tricks, and not give any ground. I'm going to burn."?That's not going to help you. I've seen Buddy destroy a couple of musicians. I won't say their names, because I don't want to hurt their feelings. But they were playing a gazillion notes per second, while he was holding one note, and he looked like a man who was on top of the Grand Canyon wielding a lightning bolt that sounded like Jimi Hendrix. He's holding that one note, and he's grinning at these guys playing a bunch of little notes that sound like mosquitoes stuck in a screen door. That's not going to hurt him. But he'll hurt you with one note that transcends the blues, and all the equipment he's using. That's heart, and Buddy Guy has an incredible heart.
Well, once again, that's fabulous for Buddy Guy, but how can someone who has been taught to trust the rewards of practicing gestures best understand the implications of following their heart??
Everyone has a heart, of course, so it typically comes down to how much you are willing to let it come out. How fast can you get to your heart and not let anything get in the way—children, the rent, the set list, taxes, nothing? How fast can you get to that place in your heart where you don't even have to think about what to play, because the notes will play themselves? Those are the best notes. Listen, carrying a melody is very difficult for a musician, because in order to carry a melody, you have to let go. A lot of people carry chords and speed. Let them go. Let go of everything you have learned, and, in return, receive the thing that will be channeled through you. Don't the best articles you've written just appear? And you go, "Wow, I don't even know how I put those words together!" This is the center of it. Musicians hear 1,000 voices saying they're not good enough—that they're just lucky, that they always play out of tune or their tone sucks, that they never get it right. John Lennon once said he hated everything he did, because he could have done it better. That's the ego. All those voices are the ego in disguise giving you guilt, shame, judgment, condemnation, and fear that you're never going to be good enough. Then, you have one voice that is very quiet, but it's louder and clearer than the other voices. This voice says, "Pick up the guitar. Here it comes." And out comes a song that's like Jeff Beck playing "People Get Ready" [sings the main melody]. Bam! Your freaking hair stands up, you've got tears coming out of your eyes, and you don't even know why. These are the things that drive me to go inside my heart, and going there is the only thing that is worth attaining for me. When I'm there, the heart will lead me to play a melody that makes families put all their sh*t aside, and just see how beautiful their families are. That's what is really beautiful about music—it brings you into harmony. The other stuff you can learn by repetition, like a hamster. With willingness, you can truly learn why people adore Jimi Hendrix.
Can you be a bit more specific about the role of willingness??
Let's look at it this way—what is this intangible world that Jimi Hendrix and Beethoven dipped into? You can call it hocus pocus or whatever, but this world exists. How often are you willing to dip into it? Do you dip into it at all? Do you ever have those moments where you're playing by yourself, and you think you've been at it for 30 minutes, but you suddenly realize you've got sweat and saliva all over your guitar because you've been at it for more than two hours? I think this is the next step for Guitar Player magazine. You should invite people to go beyond the mechanics of the physical brain and the fingers, and go to that place where— like one of my favorite bands, the Doors—we can all open the doors to perception. When you hear Robby Krieger's creepy minor-major blues thing at beginning of "The End," it's like Dracula giving you a hug, but you don't mind it. I love music that makes me feel like I'm seven years old, going to the movies for the first time and experiencing Panavision. That's why we love Jimi Hendrix—he assaults all of our senses. His music has a wide circumference. Hendrix is another name for a bridge to the unknown, because what he was playing, even he couldn't reproduce sometimes. He couldn't quantize it—as much as he might have tried to get back there by taking seven tabs of acid and a little bit of wine and some coke. Sometimes, it's nothing— just the willingness. The willingness to take a deep breath and take what was given to you. It's inside you, as John Lee Hooker said, and it has to come out. But maybe you won't let it out, because you want to analyze it before it comes out. Don't analyze it. Leave that for other people. Just take a deep breath, stop what you're thinking, and let go. Let God light you up, and let it come out. Then, you can get rid of all the sh*t you know, and play things that sound like singing water.
Intangibles and willingness are, by definition, far more mysterious than pragmatic results—such as mastering a difficult melodic run. The poet William Blake was a visionary who spoke to angels, Jackson Pollack was a drunk, and Jimi Hendrix took drugs. Those are just three examples of artists swimming in pure creative inspiration. While I'd never advocate the abuse of alcohol or pharmaceuticals, is there some trigger needed to launch a musician beyond the concrete and into the unknown?
?I don't need to take acid or mescaline to trip anymore, but I learned enough from that stuff to realize what Einstein meant when he said, "Imagination is more important than knowledge." Your imagination is your best equipment, and you cannot learn it or earn it—it was given to you. Take it. It's yours. You don't have to go down to the crossroads, and wait for a black cat or the full moon. You don't have to sell yourself to the devil. What for? You have God's love, and what can be better than that? Whether you're Yngwie Malmsteen or Steve Vai or Joe Satriani or John Scofield, you just need to shut everything off and utilize the main television— your imagination.
You see, the ultimate destination for guitar players is to create heaven and wonderment for both themselves and the listeners. If you're not doing that, you're just shucking and jiving. But if you can let go and trust God, then you can change yourself, and then you can change me, and we can change everybody. What is deep inside of you is something that might make Buddy Guy turn around and say, "Hmmm—that's interesting." And then everyone else starts saying, "Damn, did you hear this new cat? He has a very fertile imagination."
Here's another way of looking at it. I loved the debate in your letters column [September '08] commenting on Al Di Meola and Kenny Neal [who were both profiled in the July '08 GP] talking separately about whether it's better to express yourself with one note or one-million notes. But let's suppose that you can express a million things with one note. Let's consider for a moment that it's not wishful thinking, or a lazy man's way of justifying not practicing. How would you go about doing it? Is it the amplifier? Is it your technique? Is it the guitar? Do you need sympathetic strings like Ravi Shankar? Or can you use your imagination to see a note as a crystal that you put next to the sun, and that crystal then reflects the whole spectrum of the rainbow. Now, you can play for half an hour in each color! Your imagination is what makes this possible. You just have to invite your imagination into your creative process.
Now, let me comment a little bit on the pragmatic or tangible aspects of playing guitar that you've been mentioning. To me, getting all the scales and gear together is like practicing in a mirror while sucking in your cheeks. You're posing. Don't let the scales and the speed and the knowledge of chords and gear get in the way of that note that's going to disarm other people's egos and make every hair on their body stand up. Then, theyget to a place where they say to you, "You know, Michael, that note touched me in a place I've never been touched before." All of a sudden, your playing is not about comparing or competing. You go to a place where you become like what Derek Trucks is to me—a minister. In your ministry, you utilize music to take people back to where they have always been, and to where they have never been. You want to play a note that's so beautiful that the audience goes [makes gasping noise], and they can't breathe out until you finish your phrase.
Do you know Sonny Sharrock? He could shred like a tornado—like the Tasmanian Devil—and then create melodies out of all that madness. When people smoke cigars while they're playing cards, and the smoke goes to the ceiling and creates something beautiful—that's Sonny Sharrock. He is the person I wish was still alive more than any other musician, because I think he was in between Jimi Hendrix and Coltrane more than anybody.
Actually, Sharrock taught me about savvy repetition. I forgot the name of his song, but I played it constantly because it held onto a theme seemingly forever, but it was never boring. In fact, it was quite beguiling, and I drove myself nuts trying to deconstruct what Sonny was doing to make something that should have been mind-numbingly tedious so evocative and musical.
?It's a good thing you brought that up, because I think people need to understand that there's a difference between repetition and a spell. A spell is another word for wonderment. No matter who you are, that's what you long to get into. Otherwise, you're going to get bored with your sh*t. But you will never be bored with your wonderment. Wonderment has nothing to do with scales or repetition or amplifiers. It has to do with your own being, and what's inside your heart. Your mind will just be like, "Okay, I can't quantize this or understand it, so I'll just shut up and be quiet." Behold—that's wonderment.
You know, being from San Francisco, like you, we have something over the rest of this nation. I don't consider San Franciscans inferior or superior, but we do have an edge because we dare to think outside the box— musically, politically, aesthetically, and philosophically. We get accused of—"Oh yeah, that reminds me of the cows and the cheese. You know how the California people are." But, the fact is, we invest time and energy pursuing the intangible. That's the vortex we're talking about—that state of grace where you go beyond what you know and the equipment you're using. You get into that place where everybody in your band is looking at you, and they're going, "Damn! What the hell was that?"
Here's a recent example of what I'm talking about. I played a benefit concert last year for Angela Bofill with [drummer] Narada Michael Walden and [keyboardist] Chester Thompson at Grace Cathedral in San Francisco, and, as I was waiting for my solo, a voice said to me, "Carlos, this is the Grace Cathedral, and people are used to hearing 'Ave Maria,' but I want you to go to this Sonny Sharrock/Coltrane place and bug out. You're going to show people and yourself that the halo and the horns are cool. Go for it." But, just then, I looked at Chester and he was gone. His eyes were closed, and he was giving it his all. I looked at Narada, and he was gone, too. He looked like a crosseyed lion. And I realized, "Man, they're there already. I have to go to another place. Can I do it?" So I changed my stance, and I went for it. I said, "I'm going for it, and if I get a freaking heart attack, then I die. I don't care." A month later, people who saw the concert were still telling me, "You created this vortex between heaven and earth that I know wasn't of this planet." I said, "I know exactly when I went for it, and I'm glad you picked up on it." You see, people intuitively applaud your pursuance—not necessarily the attainment. For example, you can perform a perfect solo, and the people might say, "Eh, whatever," because maybe you were 99 percent perfect, but you were an asshole about reaching that final one percent of perfection. You weren't open and giving, and your ego was too involved, so people will only remember that you were an asshole. The true beauty is in the pursuance, so I'd recommend looking at that one percent "shortfall" as the sacrifice you had to make in order for the other notes to be perfect. It's funny,Wayne Shorter once said, "I like mistakes. Sometimes, big ones—like scars."
That's interesting. I just interviewed Alvin Lee from Ten Years After about how the British Invasion players took American blues and revved it up into the blues-rock hybrid. He said that, back then, they didn't really have a lot of influences to relate to, and that many of the blues solos they heard were far from perfect. There were tons of mistakes. So what he and his peers got from the original blues guitarists was their energy and passion—which is why he said he still cranks up his amp and goes for feel over precision to this day. The whole thing about striving for so-called "perfect" rock solos came later.
?Here's where we crystallize this statement— for you, for me, and for everybody. Perfect perfection exists in the heart, not in the mind. Perfect perfection is—I just learned this word, man, and I want to share it with you—"unalterable." It means something that you can't add to, because it's already perfect. People say, "What's that?" The sun. The sun has never said to the earth, "You owe me," so it's unalterable. The Mona Lisa is unalterable. You can't add anything to it, or subtract anything from it. The eyes of a brand new baby are unalterable. Within those eyes is pure innocence, and they are incapable of disappointing you. I think it's good news to understand that perfect perfection does exist, but there are certain things musicians need to identify in order for them to play music that uplifts, transforms, and moves people beyond show business—beyond "look what I can do"—and to a place where people drop their guard and go, "Wow!"
A lot of people practice everything meticulously, and they go onstage and play it meticulously exactly the same way. Now, this can be incredible, but, after a while, it's like watching something through Plexiglass— you can't get to the other side. Me—I need a hug. I don't kiss the air like the kids in Los Angeles. Give me a hug. So I feel that people really need to learn how to hug that note.
How do you "hug" a note??
Well, I was recording this supreme singer once, and he said, "Carlos, I'm inside this vocal booth, and you're out there in the control room, so tell me where I am." Now, whether it's Pavarotti or Larry Graham, I always say the same thing: "You're going around the block. Get inside the sheets." That means to get a little closer to the melody. And don't make it staccato—make it legato. Legato is a hug. That's why we love Peter Green—"The Supernatural" is all legato.
So you're not down with staccato phrasing— like, say, how a horn section might place its accents?
?Oh, there's also a need for staccato. It's fun. It's like skipping rocks across a lake. "Ch-ch-ch-ch-splash." Hey, can you skip it seven times?
Let's talk a bit about leading a band. When I saw you perform at the Fillmore in San Francisco last month, I was amazed at how much your band members were listening to everything going on around them. It seemed you never had to cue them—you'd change a feel, and they'd just adapt immediately, as if everyone was psychic. These moments didn't seem rehearsed or choreographed— they'd just happen. How do you ensure every player is on the same wavelength??
Thank you for saying that. My answer to your question is "trust." My band members trust me. The only things I ever rehearse are grooves. I want to make sure you put your finger in it, and you touch it with your tongue, and it's freaking divinely delicious. The tempo has to be right for a certain song. We can't fall in different places. It's just like football—there can't be no penalty flags! We all have to hit the collective "wa." You should do an article in Guitar Player on wa. What the hell is the wa? Imagine 100 women in a circle around you in the middle of a field, and they're all going, "Hey ya, nay nay….wa!" When you all hit the wa together—that's when music is happening. So I tell my band, "I need the wa. Let's hit the wa together. Don't overstate it, but visit it." All music, whether it's Segovia or Paco de Lucia or Hendrix has the wa. If you don't hit the wa, your music is redundant, repetitious, and monotonous. James Brown called it "hitting on the one," and he visited the wa enough to put a collective conscious on it. A lot of bands have come from James Brown.
Do you listen for melodic clues from drummers?
Absolutely. Tony Williams, Elvin Jones, Mitch Mitchell, Ginger Baker—these are drummers who know how to be possessed, and, as a result, they can take the guitar player beyond what he can play. Drummers play melodies in the cymbals, and if you hear them—whether you're Pat Metheny or John Scofield—it's like, "Man, you played something in the cymbals that brought me to a whole other room in the house I haven't visited before."
Again, we're talking about being open and trusting yourself to finding inspiration in everything around you.?
My Uncle Max used to say, "By any means necessary." So show me the brilliance. Show me the wonderment. Don't show me excuses. No ifs, no buts, no slipping, no sliding, no superiority, no inferiority. Don't let what you know get in the way. Get to that place where everyone is uplifted in spirit and revived.
Unfortunately, there's a fair amount of pressure on ambitious young musicians to clone what's successful, as many of today's besieged record labels are practicing strict "risk management." Do you feel you can embrace the spirit and still serve commerce?
?The more McDonald's that are out there, the more you need a grandma who spends all day in the kitchen stirring the sauce on Thanksgiving. This is why I'm very grateful to Derek Trucks, Ben Harper, Trey Anastasio, and others like them. They are successful, and they play from their hearts. Now, there are a lot of successful posers, as well. These are the musicians I was talking about who practice in front of mirrors, and plan every note to do a certain thing. It's all calculated. But I think these people would be afraid to get onstage with Jeff Beck, Buddy Guy, and me, because they would think they'd have to compete with Jeff Beck, Buddy Guy, and me. I don't compete or compare, man. I just wait my turn.
Can we explore that a bit? You've shared stages with a lot of amazing guitarists and other instrumentalists. How do you approach your performance when you're sharing licks with another player?
?If they go up and down, I go from side to side. I'm going to bring counter motion to whatever is happening in the room. I figure the best way I can be welcome is to bring something different from what they're doing. That's what I learned from Miles Davis: Always go for the counter motion. It's a great insight. He said, "If you hear something, don't play it. Play what's around it. Play like you don't know what to play." Again, this is about letting go of what you know.
I'm still a bit of a coward. If I'm hearing A,C#m, F# m, D, I'm probably going to surrender to my comfort zone and play an A major scale.
?Here's that word again: Trust. In order to trust, you have to be able to see something beautiful first, and then feel something beautiful. I can close my eyes, and in this very second I can be Buddy Guy, John McLaughlin, Pat Metheny, and Jeff Beck, and we're all having a ball. We don't even know we're guitar players. We're just saying, "Hey man," and each one of us is telling some marvelous stories. Buddy has some great blues stories about Muddy Waters and B.B. King and John Lee Hooker. So tell me a story with your guitar, man. If I wanted to see a screwdriver or a hammer, I'd ask you to play me scales and chords. You see what I mean? You have to learn how to tell a story. You have to learn to carry a melody. You have to learn to access the intangible at will. These things will make you a different kind of musician.
Ultimately, you should utilize music the same way you utilize your imagination. Sometimes, you can just drop something in, and make people go, "Wow!" It doesn't have to be deep. For example, there's a place in our set—between "Soul Sacrifice" and the finale—where the band doesn't know what I'm going to do. I might play something raw or beautiful, or I'll throw in a Looney Tunes theme. Any direction is okay, because music doesn't have to be so boring, constrictive, and serious. Music is supposed to be fun.
Santana's Love Letter
This interview can be found at GuitarPlayer.com

subset: commoncrawl


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Blog of Dr. Miland Brown that features different aspects of world history. Not everything can be covered but sites dealing with any historical issue or topic are possible future posts. Also includes sites which discuss teaching history. Dr. Brown is an academic in North America.
Saturday, December 31, 2005
Stetson Kennedy and Superman Beat the KKK
That power ebbed. And one of the biggest reasons was a man known as Stetson Kennedy. He was (and still is) a white southerner with a family history of Klan membership. Despite this, he did not like the Klan and decided to act against it. Shortly after World War Two, he went undercover to learn Klan secrets. This lead to his book The Klan Unmasked.
However, he did not wait until he published his book to leak Klan knowledge. He gave it to the writers of the Superman radio show. And they used it...
The blogged article notes, "THE MOST noteworthy Superman radio episodes are described in Weyn Craig Wade's indispensable history of the Ku Klux Klan, The Fiery Cross. According to Wade, Stetson Kennedy, a reporter for the short-lived lefty newspaper PM, went undercover into the Klan, learning the secret passwords and countersigns used by the Grand Dragon "Doc" Green's vicious Klavern No. 1 of Atlanta. For sport, Kennedy passed on the info to writers of the Superman radio show about that comic-book character whom Wade calls the ultimate antifacist."
The Superman radio shows did major damage to the Klan. They revealed Klan passwords and put the Klan on the same moral ground as the Nazis and Lex Luthor. Klan members were shocked to hear their children playing with Klan knowledge. And the Klan was not amused.
The article continues, "Green had to change his passwords because of the show. The Klan chief tried to retaliate by pressuring Pep Cereal--sponsors of the Adventures of Superman--off of grocery shelves in Atlanta. Despite Green's actions, the sponsors continued to green-light the anti-Klan shows."
The Superman radio show may be seen as trivial today. But it had a big impact on politics in the southern USA in the 1940s. It can be safely said the Stetson Kennedy (and Superman) helped to bring the KKK down a notch.
3 comments:
- john_m_burt said...
I can understand why a journalist might turn to the writers of the Superman radio show, since it stood out from similar series on account of its excellent writing and characterization.
It can be persuasively argued that the radio show and not the comic books or the newspaper strip was the "definitive" rendering of Superman, since most of what the general public know about Superman comes from there: the first appearance of Kryptonite, the first stories set on Krypton before it exploded, the first stories of Clark Kent's childhood, the first appearance of Jimmy Olsen, the first occasion of Superman actually flying (rather than making immense long-jumps), to say nothing of memorable phrases such as "Look, up in the sky!" "Truth, Justice and the American Way!" and "Dashing into a nearby phone booth...".
I'd recommend the Superman radio show to anyone who's interested in audio drama.
Imagine a time when the entertainment industry actually made a positive contribution to our culture ....
That was a long time ago.
- Bob Hawkins said...
Also, the negative reaction was probably less than it would have been if the information had appeared in a more "serious" form. SF and fantasy have been useful to express ideas contrary to the zeitgeist for a long time, "1984" and "Animal Farm" being examples.
Back in the 1930s, when all "serious" writers were waving a sad farewell to weak democracy and making the best deal possible with their tough new fascist overlords, E.E. "Doc" Smith's Lensman stories subversively depicted the victory of a free, multispecies melting pot over the totalitarian Empire of Boskone.
When the original "Addams Family" TV series was on, with Carolyn Jones and John Astin, one critic noted that it was the only series with an intact family where everyone respected each other. And where but on "Smallville" do we get teenagers who are grateful to their parents.


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This past Friday Investor's Business Daily has published an excellent editorial on the continuing falsehoods retailed by President Obama in the service of Obamacare. The heading of the editorial "Still more Obamacare lies" — rightly suggests that it belongs in this series. IBD observes:
President Obama says so many false things about ObamaCare that it's hard to keep up. But here are two more untruths that deserve debunking.
In speech after speech these days, Obama tries to shift blame for the ongoing ObamaCare debacles onto the backs of Republicans.
In late November, for example, Obama complained that "instead of rooting for failure, or refighting old battles, Republicans in Congress need to work with us to improve those things about the Affordable Care Act that aren't working as well as they should."
Obama's attempt to escape responsibility for the failure of his signature domestic achievement isn't surprising. But in this case, he's falsifying the record.
The fact is that Republicans in the House have already done much to fix ObamaCare, and Obama himself has signed many of those bills into law.
One of the first things Republicans did after taking control of the House was to repeal an onerous tax-reporting scheme Democrats tucked into the law, which would have buried businesses in IRS paperwork. Obama signed that in April 2011.
They also removed a "free-choice voucher" program that would have forced companies to hand vouchers to low-income workers who didn't want to sign up with their health plans.
Republicans repealed ObamaCare's long-term care insurance program, too, which even the administration admitted was fatally flawed.
They fixed an eligibility formula that would have let a couple making as much as $64,000 a year qualify for Medicaid, thereby saving taxpayers $13 billion.
Just this month, the House passed a bill to let individuals keep the plans they have. That, like many other House fixes, went nowhere in the Democratic Senate.
Meanwhile, Obama puts a happy face on ObamaCare by claiming it is already slowing health spending. "Thanks in part to the Affordable Care Act, health care costs are growing at the slowest rate in 50 years," he said recently. "Employer-based health care costs are growing at about one-third the rate of a decade ago."
This, too, is false. Yes, the rate of growth in national health spending has slowed in recent years. It was just 3.9% in 2009, 2010 and 2011. And employer premium growth had been on the downtrend.
But these have nothing to do with ObamaCare….
Whole thing here.


text:
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Dr. Mueller and Temac: Distribution agreement on industrial gaskets
(Ahlhorn, 12.04.2010) - The company Dr. Müller GmbH based in Ahlhorn / Lower Saxony and Temac, located in Zverinek / Czech Republic have signed a distribution agreement on the products manufactured by Temac for the German market.
Temac's product portfolio includes a wide range of industrial gaskets, mainly fibrous-rubber sealing boards, boards and die-cut sealing from an expanded graphite and PTFE, a wide range of combined gaskets such as spiral wound gaskets, camprofiles, special metal-sealing elements, gland packings, graphite rings, PTFE products, static packings and textiles, non-asbestos gaskets materials and other metallic components.
"By signing this distribution agreement we have managed to allow the distribution in Germany of a wide range of quality sealing materials of this leading European manufacturer," said Frank Funke, sales manager of Dr. Müller GmbH
At the beginning, Dr. Mueller will focus on the range of non-asbestos gaskets materials of this Czech company. The firm will concentrate its activities on the selected dealers and the cutting companies.
"The advantage of Temac´s materials is that they have a large number of certifications," said Daniel Moc, Temac´s sales manager. For example, DVGW (gas), KTW (drinking water) and BAM (oxygen) certifications.
World renowned companies use products from Temac:
As an example from the petrochemical field, companies such as Shell, Esso and Bayer could be mentioned, from the automotive industry, Volkswagen subsidiary Skoda as well as the French suppliers Valeo and Faurecia.
About Dr. Müller GmbH:
The Dr. Müller GmbH in Ahlhorn (Niedersachsen) is one of the world's largest supplier of Electrical Insulating Materials, Thermally Conductive Products, gaskets and Technical Films since 1967. Besides the headquarter in northern Germany the company also has a branch in Brazil and a sales office located in England.
Customers come mainly from the electrical and electronics industry, the automotive industry and the agricultural and medical technology sector. This company not only offers customers technical solutions to their specific needs but also develops and implements logistics and packaging solutions which are specially adapted to meet customer's specific requirements.
The company is certified to be in conformance with ISO 9001
About Temac, A.Ş:
Temac is a leading Central European manufacturer and distributor of industrial and automotive sealings and gaskets used mainly in power engineering, chemical, gas, oil and petrochemical industries.
Based on the deployment of new technologies and a broad range of international quality certifications, Temac's list of customers includes companies such as Volkswagen Group, Daewoo Avia, Federal Mogul, Slovnaft, Shell, the Unipetrol Group and a various subsidiaries of the Royal Econosto/Erics group.
Temac, a.s. develops, manufactures and sells one of the most extensive product portafolio in the sealing industry.
The quality of their services is based on certificates such as ISO 9001, ISO 14001 and ISO/TS 16949.
To see where this press release has been published, please click here .


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… but at least I no longer worry I'm some sort of felon for de-godding some coins.
Take a look on eBay for "Cross Pennies". I'll try some links here, but they may break once the auctions are over.
You can buy a penny with a cross punched out of it… for a dollar. Or fifty of them, for $14.99. Or 100 of them, for $48.00 (different groups, different pricing). One penny and a prayer for $1.69. Or if you want a heartstring-tugging tag, a "2001 Lincoln Penny Cent Christian Cut Cross Memorabilia For 9-11 To Never Forget".
There is also (not on eBay) a "cross pennies ministries"
You may have seen them lying around or given to you by complete strangers. Either way, these cross pennies have been used all over the world by missionaries and witnessers alike to spread the Word of Christ! The penny is the least of our coins in America and to many people, it is almost worthless. Though some find it hard to believe that something with such a small monetary value can mean so much just by stamping a cross into it, we as Christians find endless worth because through the witnessing that has resulted from it, lives have been added into the kingdom of GOD!
Actually, they have taken something of monetary value and made certain it is monetarily worthless, by punching a cross out of the middle of it. At least these people appear to charge only one cent per cross penny… well, that plus shipping. A flat rate of $5.50 per 1500 pennies. Compared to eBay, this is a deal!
So, while they are charging for nearly worthless coins rendered useless as change, my godless dollars are fully functional and making their way into the pockets of people who, if they find themselves offended by the coins… can spend them just as easily as any other dollars.
Hell, they can even use one to buy a penny with a cross-shaped hole in it… though they may have to chip in a bit more for shipping.


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Deck the Halls for two clarinets
eBook (PDF), 2 Pages
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Deck the Halls. Sheet music for two clarinets. These duets are taken from the Christmas Clarinet Duet Book, arranged by Kyle Coughlin. This PDF includes 2 different versions that are suitable for beginner to intermediate students, and the arrangements of this carol have notes in both the upper and lower registers. The first version of the duet has the melody in the top part for the entire song and the second version alternates the melody between the two parts. The entire book is also available in print and PDF versions. To find out more about the Christmas Clarinet Duet Book and all of the songs in it, please visit www.ChristmasClarinet.com
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A Southern California native, Emilio Villalba received his BFA from the Art Institute of California in 2006, and his MFA in Painting from the Academy of Art University in 2011. He currently lives and works in San Francisco and is represented by the gallery.
In the most basic sense, I paint portraits. Contemporary representations inspired by master works of the past.
With these pieces, I wanted to explore a kind of omnipresent pressure I think we all live under; One that grows out of the clash between humanity—our unique mess of emotions, obsessions and urges—and society's prescription for success.
I've always been fascinated by the mess.
The new visuals are a nod to the modern art aesthetic. Subtle shifts, repetition, (re)placement, or absence of facial features are attempts to create a feeling of dissonance and pressure in the viewer. I want someone to be drawn in by the uncanny nature of a piece and still feel safe to explore the feelings and reactions the pressure gives rise to.
Collections: Emilio Villalba, Emilio Villalba: I Don't See, New
Artist: Painting
Shipping costs will be added at checkout. For an exact quote, please use the 'Quote Shipping' option and we will invoice you separately. If you would like to arrange a free pickup, simply select the 'Gallery Pickup' option at checkout. For expedited rates or specific delivery requests, please contact the gallery.
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text:
I found myself in a conversation with friend and sometimes mentor, Nathan Hughes (@ndh313), about the upper bound of one's social connections. Back in the 90's Robin Dunbar proposed an upper limit of around 150 real social connections (knowing who a person is and what their relationship is to you). Scientists have recently used Twitter as a laboratory to confirm that this number holds true, even with all the recent advances in social networking technology. This number has also been confirmed by actual practice throughout the range of human experiences, from hunter-gatherer societies to corporate organizations, to the U.S. military.
In our new social media landscape, this limit seems to manifest itself in two interesting effects:
Most of you have probably already observed the first effect, and it is unlikely to surprise you: those of us who follow hundreds or thousands on Twitter or Facebook will ignore most of the traffic in favor of our "core community" of around, surprise, 150 people--the people we have built real social ties with. This is well-understood enough that Facebook tries to predict this core community based on conversations, and filter the newsfeed appropriately.
Second, the rest of our connections (the ones we don't maintain more structured formal ties with) fall out of the conversation paradigm, and become an audience. To a small number of people, we're a member of their community; to everyone else, we are (however transitory) set up as some sort of Authority. Broadcast mechanics take over, and the conversation becomes one-way, because of the limits of human attention, and not the limits of the social media tools we use. When a social network extends our reach as an individual beyond our core communities, it does so in such a way as to set us up as an author(ity), not a conversant. There doesn't seem to be a way around this issue. It's how humans are hard-wired. This almost seems counterintuitive to those of us who've grown up digital, because we see traditional authority structures being challenged everywhere from academics, to the music industry, to the media ("the" media, hah!).
The Internet generation isn't getting rid of "experts", we're just changing the criteria.
Who is to be considered an "expert" on a topic is quickly becoming an ad-hoc, crowdsourced meritocracy. The technology of the 20th century set up firm barriers between community and authority (you were either on TV, or not; a published author, or not). Social media tools have greatly softened that barrier, to the point where many of us can drift in or out of authority, or remain a member of one community, and an authority to another. However, in a web-linked world, contrary to our instincts, Authority is still inherent in the system. That authority is granted by our core communities, however, and not (solely) by some sanctioned social institution. This is the difference between "PhD. X
---The Power Law---
The interesting effect of this is as statistically demonstrable as the 150-connections rule. It establishes a power-law relationship inside of networks. Clay Shirky noticed this effect as far back as 2003. For an evenly-distributed bunch of egalitarians, look how often we all quote Clay Shirky! To most of us, he is an "Authority", not a member of our community (more's the pity). Meritous or compelling memes gather an audience because members of various communities lend the meme (or author) credence. As reputation grows across communities, some people get propelled out of the long-tail and into the big-head of the power-law curve and a wider audience. It's at this point that their social networking relationships change: The conversant becomes an author, and they have to address an audience instead of a just a community.
I've noticed this most frequently when listening to Leo Laporte's This Week in Google podcast with Gina Trapani and Jeff Jarvis. Conversations frequently center around various tools and services that are coming online in the social sphere, and I find how often my own likes/dislikes are at odds with the hosts. This is, of course, because I am using these tools to interact with a community, not to manage an audience. Therefore, our criteria for evaluating the usefulness of these tools is fundamentally different. Things that they find terribly useful tend towards those features that make managing an audience easier: Google's Priority Inbox, Twitter, Gina Trapani's own ThinkUp app, etc. We're using all the same tools, but they're using them from the big head of the power law distribution graph, and I from the long tail. I believe this is the reason why a service like Twitter caught on amongst the media traditionalists more than other social technologies: it's natively a broadcast media, and pretty bad at conversations. Which is exactly what media traditionalists are used to.
---Crossing the Gap---
Thanks to social technologies, it's easier than ever to cross the gap from community/member to audience/author. But the most successful social technologies (let's say Facebook and Twitter) succeeded because they were flexible enough to change when their users were faced with the 150-connection barrier. Facebook iterated through many changes, but the most important to managing the crossing were the "Top News" feed, which filters the user's news feed heuristically based on the most common connections, and the creation of "Fan Pages" that center around managing an audience more than participating in a community. Twitter stumbled onto success largely by having a well-documented and widely-used API that allowed the userbase to extend it's functionality to fit their needs on their own. Hashtags and Retweets are both user-created conventions that help bridge the community/audience gap, and were eventually incorporated into Twitter's core functionality. And almost nobody uses Twitter via SMS anymore, as it was originally intended. Google Buzz is an excellent example of how being able to cross the 150-connection barrier can make or break a service. Even though Google had a ready userbase via GMail, and far superior technology for cross-platform integration, it was the inability to service the big head of the power law distribution graph, without destroying the usefulness to the long tail, that held it back. Following even a few popular feeds in Buzz can bury your closer connections, short-circuiting Buzz's usefulness to core communities, and leaving it as an "either-or" tool. (It can service the audience, or it can service a core community, but for any given user, it can't service both). It does *not* help a user cross the gap between community and audience, and therefore remains far less popular than the bigger names in social technology.
This problem of crossing the gap from core community to authority/audience isn't just for social technologies, however. Any form of human collective endeavor suffers from it. How many companies that function well as a startup are unable to take the leap to full-fledged corporation? (Eric Schmidt admits that even Google's biggest problem is managing growth). How many grass-roots political movements get co-opted by established incumbents? (Something the notoriously decentralized Tea Partiers rightly fear). In the connected age, whether you are building a social technology, or cultivating like-minded people to a cause or corporate mission, building a system (or culture) that is flexible enough to accept growth beyond a core community, without destroying the core community in the process, is the key to success. This not only explains the successes and failures of various social technologies, but also explains the rise of the web itself in the face of the far-less flexible traditional media.


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gabned brauchte ein neues Website Design und hat einen Wettbewerb auf 99designs gestartet.
Aus 82 Designs von 22 Designern wurde eine Gewinner gewählt.
We are a small startup based in Italy and supported by US affiliates that is trying to create a new way to look for recipes on the web and mobile devises (cellphones, tab, etc).
Our name (frigomio) is the italian words for "my fridge".
Mostly male and female, 25-40, in cities, college graduates, wealthy, trendy and (maybe) tech addicted.
Interested in cooking and, specially, in home made cooking.
2 WEB PAGES DESIGN (homepage + internal page):
The design consists of creating 2 pages:
1) A Homepage
2) A recipe's page template
The homepage's design will be a fixed-dimension, fitting onto screen (without scrolling the page using a 1280x800 desktop).
Weight: around 990 pixel
Height: around 650 pixel
Try using standard fonts to allow us to change easily the text, and please don't use an image of text, because our website will be multilanguage, therefore we would prefer not to manage a lot of images, but only text.
Our objective is to obtain a good looking and homely website, clean (but not empty, with a strong focus on the action that the users have to achieve), fresh and colored (if you see our logo, you could understand what we are trying to build).
We would like them in PSD format.
Other tips to better focus your work and meet our requirements are the following:
- We'd like to avoid dark colors (black, dark grey, etc) even if applied to the background;
- We might prefer to obtain a webpage that in some way wholly with our logo;
- Our website should be attractive and interesting to the user's eyes.
We have attached a mockup with a general idea of what we think of our website. Feel free to change whatever you want. We did not create these as a design map or creative guideline, just to convey basically what we need.
- Header : should contain a logo (is attached in PSD format, choose if you want to put the name on the left or on the bottom of the image's logo), some text/buttons with link, the possibility to change the language (maybe using a dropdown menu)
Then a possibility to login (Username and Password), also using facebook-twitter-google accounts (we are planning to use JainRain.com).
- Footer : the footer will contain some menu chose (Privacy, Terms of Use and Contact... the classic stuff... )......
Generally has the same header and footer of the homepage (please, re-use the same elements to set up this page). Inside the inner page try to imagine a standard recipe card.
We have attached you our logo (in psd and jpg format) and 2 mockups, one for the homepage and one for the inner page, to give you a GENERAL idea.
Please consider them only as a suggestion, but feel free to use your own creativity!! ;-)


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11 February, 2010
AMAZING!!Ready for the next show in September. From Galicia to Paris to enjoy the best show in the world. I start my journey beggining the show at Nou Camp in Barcelona, opening night last year. Hope in Paris the band will show new songs from the new albumand some gifts like Until the end, Misterious,40".... See you there!!
05 February, 2010
My first concert of U2I was at the "stade de France", il was my first concert of u2. It was magnificent


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Field Verification
The New Solar Homes Partnership (NSHP) requires a third party inspector called a Home Energy Rating System (HERS) rater to provide field verification for certain energy efficiency measures and the PV system in a NSHP home.
Energy Efficiency Measures Requiring Field Verification
Eligibility for NSHP incentives requires that residential buildings incorporate measures to meet one of two tiers of energy efficiency:
- Tier I - 15 percent reduction in the residential building's combined space heating, space cooling, and water heating energy compared to the Title 24 Standards in effect on the date the building permit was applied for.
- Tier II - 35 percent reduction in the residential building's combined space heating, space cooling and water heating energy and 40 percent reduction in the residential building's space cooling (air conditioning) energy compared to the 2005 Title 24 Standards.
Typical energy efficiency measures that require field verification or diagnostic testing include high-efficiency air conditioning systems, quality installation of insulation, insulation with a higher R value than that required by California's Building Energy Efficiency Standards, or windows that allow less heat into the home.
PV System Field Verification Requirements
Projects that qualify for NSHP incentives require a HERS rater to verify the new PV system is installed properly and operates consistent with information on your application. The HERS rater will test the PV system and determine if the actual performance matches the estimated performance in your application. The rater will also verify that the actual shading does not exceed the shading characteristics included in the expected performance calculations. This verification process will determine the final NSHP incentive amount.
Field Verification Forms
After completing the field verification of the PV system installation and performance, the HERS rater provides the applicant and HERS provider with a Certificate of Field Verification (CF-4R-PV). The receipt of the CF-4R-PV by the NSHP from the provider's database is one of the final steps in the process that results in an incentive check being issued.
The HERS rater must also verify all measures used to achieve energy efficiency code compliance on a Certificate of Field Verification and Diagnostic Testing (CF-4R), if applicable, for both the NSHP and utility energy efficiency incentives.
Field Verification for Production Homes
For new housing developments, the applicant may choose to have the HERS rater complete field verification using the sampling approach. Under this approach, the HERS rater must verify the energy efficiency measures and/or PV system installation and performance for one home from a group of up to seven units.
General Information
HERS raters must be certified and work under the oversight of one of the California Energy Commission's approved HERS providers. To find a HERS rater for your project, click on the links provided:
- CalCERTS - California Certified Energy Rating & Testing Services
- CBPCA - Efficiency First California (formerly California Building Performance Contractors Association)
- CHEERS - California Home Energy Efficiency Rating Services
Identify a HERS rater early in your planning to ensure a smooth process to get both NSHP incentives and energy efficiency incentives available through your utility.
Field verification is a requirement for the NSHP application and a value-added service paid for by the applicant that provides quality control to protect the builder, installer, supplier, homeowner and California as a whole.
For more information:
The procedures for field verification are detailed in The Reference Appendices for the 2008 Building Energy Efficiency Standards (Acrobat PDF file, 363 pages, 4.9 mb), Sections RA2 and RA3.


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Buttermilk in Stockholm!Sunday, March 13th, 2011
Sweden does not produce and sell buttermilk (kärnmjölk) commercially since year 2000, so I was very happy when I found buttermilk in one of the Polish grocery stores the other week. If I remember correctly, I believe that I paid 14 SEK.
Herkulesgatan 26, Stockholm


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I just watched a cute video by Nic Smith on the history of Business Intelligence. Granted it was a shill for Microsoft but still it was cute and mostly accurate. However, there was one erroneous attribute that I think most people may not know. The term, "Business Intelligence" was not coined by Howard Dresner as stated in the video -- he did a fine job of making it popular but he did not invent the term. Read on to find out where it was first used...
I love history. In fact, I was a semester away from having a history degree in college (German history was my favorite). Because of this interest, I have always been curious about the origins of things. So since I have been immersed in Business Intelligence (BI) for the past 20+ years, I wondered about the term, BI -- where did it come from, who first used the term, did it have a similar meaning to our current definition? Fortunately for me, I ran into a good friend of mine, Alan Meyer, InfoSphere Marketing for IBM's System z (that's the mainframe for those of you not up on IBM's nomenclature) who sent me an article that is the earliest documented usage of BI in its modern sense that I can find.
So where was BI first used (drum roll please...)?
A paper written by H.P.Luhn in IBM Journal, titled "A Business Intelligence System:. The date was October 1958! Yes -- 61 years ago. Dan Vesset of IDC wrote about it in his article on the 50th birthday of DB2. Boy, do I feel old...
So was Luhn's definition on target? You bet it was. Here are just a few excerpts from the short paper and remember -- these were written over 60 years ago:
Abstract: "An automatic system is being developed to disseminate information to the various sections of any industrial, scientific, or government organization. This intelligence system will utilize data-processing machines for auto-extracting and auto-encoding of documents and for creating interest profiles for each of the 'action points' in an organization."
In the body of the paper: "Information is now being generated and utilized at an ever-increasing rate because of the accelerated pace and scope of human activities and the steady rise in the average level of education. At the same time, the growth of organizations and increased specialization and divisionalization have created new barriers to the flow of information. There is also a growing need for more prompt decisions at levels of responsibility far below those customary in the past. Undoubtedly the most formidable communications problem is the sheer bulk of information that has to be dealt with. In view of the present growth trends, automation appears to offer the most efficient methods for retrieval and dissemination of this information."
"The objective of the system is to supply suitable information to support specific activities carried out by individuals, groups, departments, divisions, or even larger units... To that end, the system concerns itself with the admission of acquisition of new information, its dissemination, storage, retrieval, and transmittal to the action points it servers."
Granted, at this time, the new sources of information were things like paper documents, microfilm, and microfiche but Luhn's ideas are spot on with today's definition of BI. As much as we credit Bill Inmon, Ralph Kimball and, yes, Howard Dresner with coming up with these ideas (and they certainly deserve a lot of credit), I have to say that H.P. Luhn was the originator of many of the ideas behind the data warehouse and the ultimate goal of Business Intelligence. Hats off to this true visionary! Wonder what ever happened to him...
Yours in BI success for another 60 years.
Technorati Tags: Business Intelligence, BI, data warehouse,
Posted March 30, 2009 1:51 PM
Permalink | 1 Comment |


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Rod guidance
Although rod sealing systems are designed to accommodate minor radial motion between the piston rod and cylinder head, effective rod guidance is important to ensure best rod seal performance. Guide rings accurately center the rod within the head, which reduces radial deflection and motion acting on the seals. Guide rings also accommodate the radial loads acting on the cylinder assembly and avoid direct metal-to-metal contact between the piston rod and cylinder head. For additional information about rod guidance, refer to Guide rings and guide strips.


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PHILADELPHIA – Neurology researchers have shown that feeding amino acids to brain-injured animals restores their cognitive abilities and may set the stage for the first effective treatment for cognitive impairments suffered by people with traumatic brain injuries.
"We have shown in an animal model that dietary intervention can restore a proper balance of neurochemicals in the injured part of the brain, and simultaneously improves cognitive performance," said study leader Akiva S. Cohen, PhD, a neuroscientist at the University of Pennsylvania School of Medicine and The Children's Hospital of Philadelphia.
The study appears online in the Proceedings of the National Academy of Sciences.
If these results in mice can be translated to human medicine, there would be a broad clinical benefit. Every 23 seconds, a man, woman or child in the United States suffers a traumatic brain injury (TBI). The primary cause of death and disability in children and young adults, TBI also accounts for permanent disabilities in more than 5 million Americans. The majority of those cases are from motor vehicle injuries, along with a rising incidence of battlefield casualties.
Although physicians can relieve the dangerous swelling that occurs after a TBI, there are currently no treatments for the underlying brain damage that brings in its wake cognitive losses in memory, learning and other functions.
The animals in the current study received a cocktail of three branched chain amino acids (BCAAs), specifically leucine, isoleucine and valine, in their drinking water. Previous researchers had shown that people with severe brain injuries showed mild functional improvements after receiving BCAAs through an intravenous line.
BCAAs are crucial precursors of two neurotransmitters—glutamate and gamma-aminobutyric acid, or GABA, which function together to maintain an appropriate balance of brain activity. Glutamate excites neurons, stimulating them to fire, while GABA inhibits the firing. Too much excitement or, too little, and the brain doesn't work properly. A TBI upsets the balance.
In particular, a TBI frequently damages the hippocampus, a structure deep in the brain involved in higher learning and memory. In the current study, the researchers found that an injury to the hippocampus reduced levels of BCAAs. Although overall levels of glutamate and GABA were unchanged, the loss of BCAAs disturbed the critical balance of neurotransmitters in the hippocampus, making some localized regions more excitable and others less excitable. Cohen's team tested the hypothesis that providing dietary BCAAs would restore the balance in neural response.
In this study, Cohen's study team first created standardized brain injuries in mice, and one week later compared the animals' conditioned fear response to that of uninjured mice. A week after receiving a mild electric shock in a specific cage, normal mice tend to "freeze" when placed in the same cage, anticipating another shock. The brain-injured mice demonstrated fewer freezing responses—a sign that they had partially lost that piece of learning.
On the other hand, brain-injured mice that received a diet of BCAAs showed the same normal response as the uninjured mice. The BCAA cocktail had restored their learning ability.
In addition to the behavioral results, the team conducted electrophysiological experiments in slices of hippocampus from brain-injured and non-injured mice, and showed that BCAA restored a normal balance of neural activity. "The electrophysiological results were consistent with what we saw in the animals' functional recovery," said Cohen.
If the results in mice can be reproduced in people, patients with traumatic brain injuries could receive the BCAAs in a drink. Cohen suggests that BCAAs as a dietary supplement could have a more sustained, measured benefit than that seen when patients receive BCAAs intravenously, in which the large IV dose may flood brain receptors and have more limited benefits.
Although much work remains to be done to translate the finding into a therapy, Cohen expects to collaborate over the next year with other researchers in an early-phase clinical trial of dietary BCAAs in patients with mild to moderate TBI.
The National Institutes of Health provided funding for this study. Cohen's co-authors were Jeffrey Cole, Ph.D., Christina M. Mitala, Ph.D., Suhali Kundu and Itzhak Nissim, Ph.D., all of Children's Hospital; Jaclynn A. Elkind of the University of Pennsylvania; and Ajay Verma, M.D., Ph.D., of the Uniformed Services University of the Health Sciences, Bethesda, Md. Cohen and Nissim are also on the faculty of the University of Pennsylvania School of Medicine.
Penn Medicine is one of the world's leading academic medical centers, dedicated to the related missions of medical education, biomedical research, and excellence in patient care. Penn Medicine consists of the University of Pennsylvania School of Medicine (founded in 1765 as the nation's first medical school) and the University of Pennsylvania Health System, which together form a $3.6 billion enterprise.
Penn's School of Medicine is currently ranked #3 in U.S. News & World Report's survey of research-oriented medical schools, and is consistently among the nation's top recipients of funding from the National Institutes of Health, with $367.2 million awarded in the 2008 fiscal year.
Penn Medicine's patient care facilities include:
- The Hospital of the University of Pennsylvania – the nation's first teaching hospital, recognized as one of the nation's top 10 hospitals by U.S. News & World Report.
- Penn Presbyterian Medical Center – named one of the top 100 hospitals for cardiovascular care by Thomson Reuters for six years.
- Pennsylvania Hospital – the nation's first hospital, founded in 1751, nationally recognized for excellence in orthopaedics, obstetrics & gynecology, and behavioral health.
Additional patient care facilities and services include Penn Medicine at Rittenhouse, a Philadelphia campus offering inpatient rehabilitation and outpatient care in many specialties; as well as a primary care provider network; a faculty practice plan; home care and hospice services; and several multispecialty outpatient facilities across the Philadelphia region.
Penn Medicine is committed to improving lives and health through a variety of community-based programs and activities. In fiscal year 2008, Penn Medicine provided $282 million to benefit our community.


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Bet you didn't know that Rohnert Park has roots (yes, pun intended) as a seed cultivating farm.
We like to play! We have 19 public playgrounds featuring a variety of amenities sure to delight and entertain your entire family.
Our Public Safety Officers have multitasking down. They are highly trained to serve you in both police work and firefighting.
We love animals! There are over 4,100 dogs and 1,200 cats currently licensed in Rohnert Park.
On July 1, 2019 building, planning and engineering fees will be increased. Check out the new pay schedule.
Location, Location, and did we mention Location?
Rohnert Park is situated smack in the middle of the North Bay. From our central location, one can easily reach many points of interest to the north, south, east and west.
North: Wine Country and recreation in the Russian River Valley, Armstrong Redwoods State Park
South: San Francisco with Marin County in between
East: Sonoma and Napa Wine Country, Sonoma Raceway
West: the beautiful Sonoma Coast including Bodega Bay and Pt. Reyes National Seashore, for great seafood or scenic walks on the beach
So come stay with us in Rohnert Park and use us as your launch pad to the greater North Bay Area and beyond.
City of Rohnert Park | All Rights Reserved | Powered by CivicLive | © 2020 Intrado Corporation. | Sitemap


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fiction(redirected from fictionally)
Also found in: Dictionary, Thesaurus, Idioms, Encyclopedia.
An assumption made by a court and embodied in various legal doctrines that a fact or concept is true when in actuality it is not true, or when it is likely to be equally false and true.
A legal fiction is created for the purpose of promoting the ends of justice. A common-law action, for example, allowed a father to bring suit against his daughter's seducer, based on the legal fiction of the loss of her services. Similarly, the law of torts encompasses the legal fiction of the rule of Vicarious Liability, which renders an employer responsible for the civil wrongs of his or her employees that are committed during their course of employment. Even though the employer generally is uninvolved in the actual act constituting the tort, the law holds the employer responsible since, through a legal fiction, he or she is deemed to be in direct control of the employee's actions. A seller of real estate might, for example, be liable in an action for Fraud committed by his or her agent in the course of a sale.
fictionnoun canard, concoction, fable, fabrication, fabula, false statement, falsehood, falsification, fancy, fantasy, feigned story, figment, invention, legend, lie, myth, perjury, prevarication, product of imagination, res ficta, untruth, untruthful report
Foreign phrases: Fictio legis inique operatur alieni damnum vel injuriam.Fiction of law is wrongful if it works loss or harm to anyone. Fictio juris non est ubi veritas. A fiction of law will not exist where the fact appears. Les fictions naissent de la loi, et non la loi des fictions. Fictions arise from the law, and not law from fictions. Fictio cedit veritati. Fictio juris non est ubi veritas. Fiction yields to truth. Where truth is, fiction of law does not exist.
See also: canard, falsehood, figment, lie, misstatement, myth, phantom, story, subterfuge


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This will be our nonprofit's first time applying for grants. We found your GrantWriterTeam.com website and we are going to request a grant writer. Besides filling out the form to request a writer, what else do we need to do?
Sincerely, First-time Grant Applicant
Dear First-time Grant Applicant,
Thank you for writing to me. I think all of our subscribers will appreciate your question. I recommend that organizations maintain an up-to-date computer (and hard copy) folder that includes all the documents you might ever need to apply for a grant. Locating and perfecting these documents can be more time consuming than writing the grant, itself.
Do not wait – Start gathering documents today. Be ready to apply for grants!
If you are missing a document, don't worry. Inform the grant writer and they will assist you in the preparation (if it is required by the funding source).
Here is list of documents you need to prepare for the grant proposal application process:
- Board of directors list (sample)
- Organizational chart (sample)
- A Copy of your 501c3 IRS determination letter
- Incorporation papers
- Special government licenses needed
- W9 form signed by the executive director
- Current organization budget
- Recent 990 forms (for the past 3 years)
- Copy of most recent audited financial statements
- Non discrimination policy
- Business continuity of operations document or disaster plan
- List and description of any current programs of the organization
- Any promotional materials or articles previously written about the organization
- Previously written grants
- Copies of measurement tools like pre/post-tests
- Resumes, biographies of key staff
- Statistics, articles, photos, surveys documenting the community need for your program
- Insurance certificate
With all of this information, a grant writer will be able to write you a compelling grant proposal.
Inform your GrantWriterTeam.com grant writer of which documents you have and which documents you need assistance with compiling. Every application has different requirements. The grant writer will tell you what each application requires.
You will provide your documents to the writer on an as-needed basis (do not automatically transfer your entire file).
Thank you again for sharing your question,


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Marvin Sperlin/IStockPhoto
Shelter Cove's aptly named beach is the longest stretch of undeveloped beach in the continental U.S., making it a popular destination for surfers seeking solitude.
Cliff erosion has exposed more than 70 different colors of sand along Rainbow Beach, created by combination of iron oxides and leached vegetable dyes.
Interface Images/World Travel/Alamy
Santorini's stunning Red Beach is made even more picturesque by its backdrop of soaring red lava cliffs.
Radius Images/Alamy
The sand on this Northern California beach is patched with purple, thanks to the manganese garnet deposits in the hills above.
Hawaii VV Pics/Istockphoto
There are few black sand beaches as stunning as the onyx-hued Wai'anapanapa State Park, which gets its color (or lack thereof) from lava flows falling into the sea.
Jiri Rezac/Alamy
It may not be as dramatic as black sand or red sand, but Malta's Ramla Bay is a rich golden-red hue, unlike any other beach on the island.
Peter Donaldson/Alamy
High iron content in the sand at Sharp Park Beach gives the entire beach a warm chocolate hue.
Cornforth Images/Alamy
One of only two green sand beaches in the world (the other is in the Galapagos), Papakolea Beach's coloring comes from the mineral olivine.
Harbour Island is just more than three miles long and a mile wide, but this sliver of an island is undoubtedly home to one of the most unique beaches in the world. The pink sand comes from remnants of red-shelled foraminifera, a single-celled marine animal, mixing with white sand.
Cuboimages, SRL/Alamy
Rustic Porto Ferro derives its ochre color from orange limestone deposits in the area.
The black sand and cerulean surf of New Zealand's Muriwai Beach makes it one of the most popular—and most beautiful—destinations for surfers.
David Wall/Alamy
A white beach doesn't exactly fit in with the world's most colorful beaches, but Hyams Beach isn't just any white beach—it's renowned for having the whitest sand in the world, according to the Guinness Book of World Records.


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Contaminated ground turkey is being blamed for an outbreak of salmonella food poisoning that has killed one person and sickened at least 76 others in 26 states since March, government health officials said.
Don't miss these Health stories
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Rates of women who are opting for preventive mastectomies, such as Angeline Jolie, have increased by an estimated 50 percent in recent years, experts say. But many doctors are puzzled because the operation doesn't carry a 100 percent guarantee, it's major surgery -- and women have other options, from a once-a-day pill to careful monitoring.
- Larry Page's damaged vocal cords: Treatment comes with trade-offs
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The U.S. Department of Agriculture has issued a public health alert after the nation's foodborne illness detection system, PulseNet, confirmed the genetic fingerprint of salmonella detected in fresh or frozen ground turkey consumed across the nation.
Health officials have confirmed information reported from at least 58 people who became ill. Those sickened range in age from less than a year to age 88, with a median age of 23. At least 22 people have been hospitalized so far, according to the Centers for Disease Control and Prevention.
No details were available immediately about the person who died.
Cultures of four ground turkey samples bought from retail locations between March 7 and June 27 yielded the particular outbreak strain of salmonella Heidelberg.
The salmonella strain appears to be resistant to many common antibiotics, which may complicate treatment for infections. Drug resistance can lead to increased risk of hospitalization or serious illness.
The number of ill people reported to be affected varies widely in several states, from 10 people each in Ohio and Michigan and nine in Texas to single infections reported in several states. Infections began on or after March 9 and have continued through Aug. 1, officials said. Illnesses that occurred after July 5 might not yet be logged because of the lag between becoming ill and when the illness is reported.
Consumers should make sure to cook fresh or frozen ground turkey thoroughly, and to an internal temperature of 165 Fahrenheit. Use of a food thermometer is the only way to ensure proper cooking temperature, health officials emphasized.
Most people infected with salmonella develop diarrhea, fever and abdominal cramps 12 to 72 hours after infection. The illness usually lasts four to seven days. In some patients, however, the illness becomes so severe that hospitalization is required.
© 2013 msnbc.com Reprints


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|Home Workshops 1 house at a time Calendar of Events Past Performance Press Make a Contribution Staff and Directors
A Nurtured World is dedicated to a global change in the way people think about the environmental impact of their day-to-day activities - at home and in the workplace. We help people live environmentally sustainable, financially successful, and satisfying lives. Our work is unique. We provide motivation and education for people of all backgrounds.
A Nurtured World's training programs are also used by businesses and organizations to:
A Nurtured World's training programs help city and local governments achieve community-wide goals for air quality, water conservation, and solid waste reduction.