text:
BACKGROUND IMAGE: iSTOCK/GETTY IMAGES
- FeatureSOX is Hell
- FeatureSteeling SATA for Duty
- FeatureInside Windows Storage Server
- ArticleBig Mac attack for storage
- ArticleFirst look: iStora 4000 from Breece Hill
- FeatureHands-On Review: Tek-Tools Profiler Rx 3.5.2
- FeatureModular vs. Monolithic Storage: The Business Case
- FeatureEnd-user file recovery: bonus or bust?
- FeaturePrime time for secondary storage
- ArticleISCSI for Unix on the way
- FeatureDefinition:
- FeatureShorten your backup window
- FeatureData storage trends: Fabric intelligence
- FeatureSnapshot: Reusing tape cartridges
iSTOCK/GETTY IMAGES
Prime time for secondary storage
Do you want to improve data protection and make better use of primary storage? Creating a layer of so-called second-tier disk is definitely worth investigating.
- Rich Castagna, Vice President of Editorial
- Alan Radding
|iSCSI inspires low-cost storage networks
There's been a stream of iSCSI products since the ratification of the iSCSI protocol in early 2003. Managers can now choose viable storage products from multiple vendors. iSCSI brings block-level SAN technology to smaller shops.
iSCSI enables block-level data delivery over any IP network. With an iSCSI initiator on the server, the system can send block-level data over the IP network to a storage device. Because Microsoft provides an iSCSI initiator as part of Windows "you've got SAN enablement being given away with the operating system. You don't even have to buy any [additional] hardware," says David Dale, chairperson of the Storage Networking Industry Association's IP Storage Forum.
The poor performance iSCSI was once criticized for no longer presents a problem in an era of gigabit and multigigabit Ethernet networks and fast processors. Yes, IP adds overhead, but "IP networks today are plenty fast," Dale says, even without the help of TCP/IP offload engines. iSCSI performance problems are more likely to result from disk drive actuators unable to pull data off the spindles fast enough, he says.
With iSCSI, midsize shops and satellite offices of large companies can achieve the benefits of consolidated networked storage. "Fibre Channel was the first phase of consolidation for enterprise mission-critical applications. With iSCSI, we can have a second phase for Wintel servers, which will be used for file consolidation," says Michael Peterson, president, Strategic Research Corp.
Mesirow Financial, a Chicago-based diversified financial firm with 800 employees and 11 offices found itself with a large number of Windows servers and the problem of administering DAS for each. "A SAN was too expensive," recalls Jay Walusek, vice president of server administration at Mesirow. After Microsoft added iSCSI initiators, the company researched an iSCSI SAN, settling on an iSCSI appliance from EqualLogic with 14 SATA disk drives. The appliance "virtualizes the storage for us and provides data replication at no additional cost," he adds.
Mesirow's next step is to add a second iSCSI appliance in a suburban office and run a gigabit Ethernet connection between them. "That will allow us to replicate data off site," Walusek says. The company also wants more SATA arrays for disk-to-disk or disk-to-disk-to-tape backup. Making this all possible is iSCSI, asynchronous IP connectivity and SATA disk arrays. "We get a fully populated, redundant iSCSI SAN for about $40,000 to $50,000," he says.
By definition, the word "secondary" suggests some degree of inferiority, but in a storage area network (SAN), secondary storage can bring big savings and smoother operations. Toss out the derogatory inferences--lower cost disks with less than breathtaking performance are playing an increasingly important role in the storage architecture.
Lower cost, of course, can be relative. Although ATA and Serial ATA (SATA)--i.e., "cheap disks"--often come to mind when secondary storage is the topic, the term doesn't necessarily define a product category.
Depending on a company's business environment and the currently installed equipment, secondary storage may just as easily be an older network-attached storage (NAS) box or a SAN array, basically any storage device that performs at a lower level than what's required for critical applications. Of course, it's prudent to keep an eye on TCO; maintaining older, lower performing storage may actually cost more than simply replacing it.
For most companies, placing a second class of disk storage between their primary storage and their archival tape library is the first step toward a tiered storage environment. Pair second-tier storage with a second-tier network--iSCSI--and the vision of a storage network architecture that can meet most of the cost/performance scenarios in the enterprise begins to take shape (see "iSCSI inspires low-cost storage networks"). But to effectively deploy secondary storage requires an understanding of the nature of the data, the data's value, how often it's used and how frequently it's accessed.
Add to lower-cost the notion of migrating data from primary storage, and this new layer of disk extends the old idea of hierarchical storage management (HSM). Instead of HSM's nearline layer--usually easily retrievable tape or writable optical--secondary disk storage brings instant online access and the ability to control whether data can be rewritten or not.
Why tier?
There are two motivations for adding secondary storage to an environment: improving data protection and making more cost-effective use of installed storage systems. From an applications perspective, these two criteria break down further, addressing more pecific storage activities:
- Creating a more effective disaster recovery plan that allows data to be copied and recovered faster
- Dramatically improving the backup process to gain freedom from backup window constraints
- Making better use of primary storage by moving less-frequently used or less-critical data from expensive arrays
- Maintaining older information in an easily accessible form to satisfy business and regulatory requirements
The concept of migrating data isn't new. HSM has been used in the mainframe world for decades, but in open-systems environments, migrating data from one type of array to another has heightened the importance of secondary storage. By using online storage resources, secondary storage extends the HSM concept.
"The majority of people up until recently have always treated all their storage the same," says Nancy Hurley, a senior analyst at the Enterprise Strategy Group (ESG), a Milford, MA-based analyst firm. But by moving data from one class of disk to another based on business criteria, companies have taken a significant step toward an information lifecycle management (ILM) system. Most companies first consider a secondary storage scheme to improve their data protection, adds Hurley.
Jim Geis, director of storage solutions at Forsythe Technology, a Skokie, IL, consulting firm, says that for many organizations, secondary storage provides a way to create multivendor shops. Multiple vendors typically meant multiple tools to manage storage, but Geis says that the maturation of management tools has made mixing vendor products much easier. Regulatory compliance has also forced storage shops to consider secondary storage, according to Geis. He says that because some regulations require almost immediate access to and a quick recovery of data "tape is not really an option."
SATA/ATA spurs interest
Clearly, more than a few planets had to align to put secondary storage in the orbit of storage managers, but the emergence of low-cost disks may be the prime mover. ATA and SATA disks are clear-cut alternatives to higher performing, more reliable--but much more costly--Fibre Channel (FC) storage.
At last spring's Storage Networking World conference, International Data Corp. (IDC) predicted that by 2007, 22% of all enterprise drive purchases will be SATA, accounting for 41% of the total terabytes purchased that year. This indicates growing interest in SATA, which is expected to account for less than 10% of 2004 drive purchases. IDC's prediction underscores the attraction of SATA/ATA disk, which today offers higher capacity than FC disks for 30% to 50% less cost.
The reliability issue is knottier. Regardless of the performance level required, any corporate data that's retained has intrinsic value and must be protected. One reason SATA disk prices can be kept so low is that the drive manufacturers do less testing on them than on typical enterprise-class drives. Reliability uncertainties may be the greatest impediment to SATA's acceptance. Forsythe's Geis says his clients' attitude about SATA can best be summed up as, "SATA is still wait and see."
Large storage vendors, such as Hitachi Data Systems (HDS) and Sun Microsystems Inc., are taking steps to help improve the reliability of SATA disks, or at least to take some of the unpredictability out of their failure. HDS' recent announcement of its Serial ATA Intermix Option allows the mixing of SATA disks with FC disks in the same array. HDS is taking a number of steps to improve the reliability of its SATA disks, including doing a read verify of every byte written to disk and continuously monitoring the disk with head sweeps.
Chris Wood, a director of technical sales and marketing at Sun, says SATA reliability is a "very significant issue." Wood says that when a disk fails, it usually occurs during its first 30 days of use, and that failure rate is higher when the disk manufacturers perform a shorter burn-in cycle, as is often the case with SATA disks. So, Sun adds a longer burn-in cycle and provides monitoring tools for SATA disks in service. For the future, the company is also looking at installing extra hot spares in every array that can be turned on when needed.
Most SATA arrays will be RAID protected, which will mitigate many of the reliability concerns, providing ample insurance if a drive fails. A second drive failure while the first is rebuilding could be a problem, but vendors are already addressing this somewhat unlikely occurrence. Network Appliance Inc. introduced double parity RAID (RAID-DP) with version 6.5 of its Data Ontap operating system. RAID-DP adds a second diagonal parity stripe and another parity disk to a RAID set to further safeguard the disks.
Another approach to improve reliability involves adding dual-port capability to single-ported SATA drives to provide redundant data paths. This technique is used by Engenio Information Technologies Inc. (formerly LSI Logic) in its SATA storage systems. Hewlett-Packard Co. (HP) is taking a similar tack with Fibre-Attached Technology Adapted (FATA), which it developed with Seagate Technology. FATA provides a dual-port FC interface for SATA drives, which improves reliability and allows mixing low-cost and FC drives in a single HP EVA array. These enhancements may kick up the cost of SATA disk systems a bit, but they will still offer substantial cost savings over their FC counterparts.
|What's driving secondary storage?
Making data safer
Today, secondary storage is most often used to bolster data protection activities. Traditional backup to tape has significant shortcomings, most notably the time required for daily and weekly backups and the difficulties of recovering archived data from tape. With far greater ease of use and faster access speeds, secondary storage is an ideal remedy for backup woes.
Industry statistics support the practicality of inserting some form of disk-based backup into typical backup scenarios. Most analysts say that approximately 75% of data that needs to be recovered is new, having been accessed or created within the last 72 hours. They also note that approximately 90% of recovered data is two weeks old or last accessed within that period. "Statistically, most people don't ever recover data after 21 days," says ESG's Hurley.
Those statistics help make a good case for using secondary storage. Because of the low cost of secondary storage, some companies have opted to eliminate tape altogether and back up directly to disk. Secondary storage system prices are competitive with many tape backup devices, albeit disk-based systems don't provide the kind of portability that tape does for storing backup copies off site. D2D backup does, however, compensate with speed--for both backing up and recovering data. Transportability of backup disks is getting more attention, with new products such as Spectra Logic Corp.'s Spectra RXT, a removable tray that holds up to 1TB of SATA disks in a ruggedized case that can be mounted in the company's Spectra T950 tape library.
At MIT's Lincoln Laboratories, Lexington, MA, the storage group uses low-cost Winchester Systems ATA arrays to speed the backup of an Oracle database. "By copying the files to the ATA array, we can cut down the backup time significantly, from 18 hours with tape to 1.5 hours with disk," says John Riopel, systems manager.
Such D2D backup is becoming increasingly attractive as the cost of ATA disk drives steadily drops. The economics of ATA make a big difference to storage managers like Tom Schultz, chief engineer at the Enterprise Imaging Group of Partners Healthcare, Boston. "I can get a 1TB ATA disk array from a midtier vendor for $4,000. An FC SCSI array would cost as much as two to five times more," he reports.
Partners is able to buy sufficient ATA disk to store three years worth of compressed images (approximately 25TB of data) before it is archived to tape. With Fibre Channel SCSI, the imaging group could only afford to keep 18 months of data online before going to tape.
Carol Braden, manager of data management for Trilegiant Corp., a membership club marketing firm based in Norwalk, CT, recently installed ATA disks in the company's EMC Corp. CX600. The new disks will be used to do point-in-time backups of an Oracle database using Oracle's Recovery Manager. "Backup will run faster and have less impact on your users," says Braden. "Any restores you have to do for local outages will be a lot faster because you don't have to go to tape." Trilegiant's setup uses the ATA disk as a staging area, with the backup data on disk eventually moving to tape.
The proliferation and enhancement of snapshot technologies also gives secondary storage a boost. This provides the dual benefit of quicker initial backups and easy access to saved data, while easing the constraints of traditional backup windows. Snapshot software that works across vendor and product lines is widely available, making it easier to mix and match storage devices according to function. Frequent snapshots of production data can be saved on secondary disk before backing up the data to tape for long-term archival. This makes it easy to satisfy data restore requests that typically occur when the data is still fresh, and the backup to tape process can run at any time without hindering operations.
Even without using snapshots, secondary storage can measurably speed up backups. Aetna, the insurance giant based in Hartford, CT, is using disk pooling and NetBackup to stage its backups for its Unix environment. Aetna uses approximately 10TB of what Nancy Guerin, head of storage management for mainframe and Unix servers, describes as "non-enterprise class" storage on an EMC Clariion, although it's still part of its overall FC environment. "Looking at the price differential," says Guerin, explaining the company's decision to eschew ATA or SATA disks, "it wasn't worth giving up some of the reliability points." Guerin adds, however, that they will consider ATA disks when they look at e-mail and database archiving.
|Placing value on data
Using disk more efficiently
The inexorable growth of corporate data has prompted many storage managers to move data to secondary storage to ease the strain on primary storage systems. The obvious benefit is that the more expensive primary storage is freed up to accommodate the applications requiring that class of storage. Reclaiming disk space that's being used for less-than-critical applications or to hold infrequently accessed data will help delay new disk purchases, or even avoid them altogether.
Nielsen Media Research of New York employs a sophisticated tiering system to allocate much of its vast amount of installed storage which, all told, adds up to about 1.2PB. Robert Stevenson, a technology strategist for Nielsen in its Oldsmar, FL, operations facility, says the company has three tiers of storage and is currently developing a fourth. The tiers are defined by price per gigabyte and matched to applications based on the level of service required. "Each of those tiers has different storage price ranges," says Stevenson.
The top tier costs users approximately $20 to $40 per gigabyte; tier two is priced at $15 to $30; and the third tier is $10 to $20 per gigabyte. "The application dictates the type of tier, but there is some blur," says Stevenson, "because tier one and two tend to be pretty similar in terms of throughput" until the number of host servers rises.
Relegating an application to secondary storage can be tricky, sending storage managers down a perilous path fraught with office politics because it requires setting a value on the application and its data. But placing all application data on primary disk poses an even greater risk of paying far more for storage than necessary. By putting the costs up front as Nielsen is doing, it shifts much of the burden of the which-disk decision to the business units that ultimately should be able to make the best decision based on the company's interests.
Another approach to matching data value to disk cost involves the use of archiving applications. Database archivers such as Princeton Softech's Archive and OuterBay's LiveArchive delve into databases and, using preset policies, identify data that can be moved to secondary storage.
Thinning out the data in databases stored on primary disk yields three main benefits:
- Primary disk space is freed, providing "growing room" for the application or other applications
- Purchases of new primary disk can be avoided or delayed
- The database applications should perform better
The key factor is the assumption that the less frequently used data can be served adequately from lower performing disk. A large Pacific Northwest insurance and investment firm that's using data aging in their tiered environment recently added a Nexsan ATAboy array for secondary storage. "The Nexsan box is used solely as a repository for archived or infrequently accessed files," says Jeff Woodard, a storage architect/designer for the insurance company. The firm is using Arkivio Inc.'s auto-stor, a storage utilization and data management application, to move user files to the Nexsan device. "It's unstructured data; it's pretty much everything you would expect users to be putting in network shares--office files, dot-xls, dot-docs, pdf files."
Woodard adds that Arkivio has been easy to use, and they had to do little more than tailor policies by choosing from auto-stor's options. And to ensure that the data is protected, no files are moved to secondary storage unless they've been previously backed up. "So far, it's been right on target with what I projected," says Woodard regarding the effectiveness of the archiving project.
Using data aging as the criterion for use of secondary storage assumes that data loses value over time and, therefore, won't be accessed as often. But old data--even if it's infrequently accessed--may still be a valuable reference resource for business units. (See "Placing value on data") Data warehouses are good examples of where data aging and access frequency may be poor criteria for migration to secondary storage. Guerin notes that Aetna's data warehousing application is "a highly parallel data warehouse environment where performance is critical." She says the company is not considering secondary storage because "less frequently accessed is hard to determine in those environments."
While the current crop of archiving applications adds standardization and automation to archiving to secondary storage, true automation tools are still to come. In the meantime, a solid understanding of the data that you're working with is the most important ingredient to an effective ILM/secondary storage environment.
All in one box
One of the more interesting developments in secondary storage is the trend toward putting primary and secondary disks in the same array. "It's absolutely happening," says Sun's Wood of mixing primary and secondary storage in a single box. "There's one thing to manage--one consistent interface, not two."
HDS allows the mixing of FC and SATA disks in one Lightning subsystem, and EMC and HP have similar offerings. "The idea of being able to tier within an array is interesting," says ESG's Hurley. "You're not forcing people to buy two separate solutions." She also cites startup Compellent's Storage Center array which, along with an innovative system of allocating disk only when applications write data, allows mixing of FC, iSCSI and SATA disks. Moving data among unlike storage devices can still be difficult, so having different classes of storage in a single box makes tiering storage far easier.
At least one company is taking the mixed box concept a step further, according to Hurley. She says that Pillar Data, although it hasn't announced a product yet, is rumored to be working on technology that tiers storage on a single disk. Pillar's technology is based on the fact that data on the outside edge of a disk can be accessed faster than the data on the inner sections. "They've actually figured out how to tier at the component level," says Hurley.
Getting started
Successful secondary storage implementations start with a solid plan. Forsythe's Geis says you need to have a good grasp on the driving force behind your secondary storage plans: "Is it cost? Is it management?" He adds that other issues must be considered, too, such as how the secondary storage will integrate with the current infrastructure and management system and to ensure that it works the backup and recovery already in place.
Secondary storage has a better chance of being a cost or time saving factor if the software associated with it is policy-driven and as automated as possible. And as SATA disks get faster and more reliable, secondary storage will continue to grow. There will always be a place for high-priced FC drives, but secondary storage is no longer a second-class citizen in the data center.
Related Resources
- Computer Weekly – 9 October 2018: NHS app marks a new era for UK health service –ComputerWeekly.com
- Jargon buster guide to hybrid cloud storage –ComputerWeekly.com
- Tiered Storage - Optimizing the Storage Infrastructure –Fujifilm Recording Media USA, Inc.
- Why Microsoft Azure is Choosing Tape –Fujifilm Recording Media USA, Inc.


text:
FG_qtr necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 149 diseños de 54 diseñadores freelance.
That's So U!
That's So U! is a service business that allows customers to creatively and uniquely express themselves by personalizing apparel and much more either in a clean classic standard manner or using a wide array of the latest cutting edge materials in order to create one-of-a-kind looks.
We recognize the importance of individuality, freedom of expression, and being the master/mistress of your own trends!
That's So U! has made self-expression as easy as a simple 5 Step Process:
Step 1 • Select/create a design
Step 2 • Choose print material quality & color (glitter, glow in the dak, hologram, metallic)
Step 3 • Choose your apparel (t-shirt, shoe, etc.)
Step 4 • We Print it!
Step 5 • Wear it & say, "THAT's SO ME!"
In "5 Simple Steps" decorate your own:
•Compression shirts
•Hats and caps
•CD, laptop, and camera cases
•Blankets chairs
•And much more!
All age ranges are targeted but majority of customers will likely be in age range 16-28 years old looking to make personalized items for fun events. Store location is in a NEW UP-AND-COMING DISTRICT:
• loud
• lots of foot traffic
• music
• cafes
• young trendy crowd
The logo needs to capture the spirit of individuality and freedom of expression. We are looking for a logo that includes the store name, "That's So U!" along with an image/icon. Image/icon does not have to be complex as long as it fits smoothly with the text (a good example of this is the Pinkberry logo).
More than anything the logo needs to grab the bustling crowd's attention (colorful, bold).
Remember, store location is in a new up-and-coming district:
• loud
• lots of foot traffic
• music
• cafes
• young trendy crowd
The logo should reflect the atmosphere of such a district but at the same time stand out as unique! Other than that, be as creative as you want!
Focus on:
• Individuality
• Freedom of Expression
• Colorful
• Loud
• Young Adult Trendy
Things to Avoid:
• Dark colors
• Integrating mention of the 5 Step Process into the logo.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.

subset: commoncrawl


text:
I am trying to translate one of Ring Lardner's short stories, The Golden Honeymoon, for my graduation thesis, and I had some difficulties with the old slang he uses in his work. I have a few words and idioms, and although I found the basic explanation for them, I need some further assistance in establishing the right description for these concepts, so I can find the right equivalent.
(These are not slang terms as such, they are descriptive terms which are still in use today)
1. "For a present my son-in-law paid the difference between a section and a compartment so as we could have a compartment and have more privatecy. In a compartment you have an upper and lower berth just like the regular sleeper, but it is a shut in room by itself and got a wash bowl. The car we went in was all compartments and no regular berths at all."
(A section here refers to seats on a train which can be moved to that they become beds in the evening. The "compartment" here is another word for a private room. There is only a curtain between the aisle and the sleeping area of a section while there is a hard wall in a compartment.)
I can't seem to fully understand what is the difference between these two.
2. "Hartsell and his wife lived in a house on Third Avenue North and had a private setting room besides their bedroom."
(Next to the bedroom is another room. This other room is called a setting room. A setting room is a space which is designed to be used for entertaining guests or for people to sit and relax in. A living room is generally larger than a setting room)
Is this the same as a living room?
3. "A woman named Mrs. Oxford rendered some selections which Mrs. Hartsell said was grand opera music, but whatever they was my daughter Edie could of give her cards and spades and not made such a hullaballoo about it neither."
4. "When Hartsell pitches, he has got to chew and it kept the ladies on the anxious seat as he don't seem to care which way he is facing when he leaves go."
Does this refer to spitting in the "ladies" direction? (You are correct is thinking that "leaves go" refers to spitting but the text says that he doesn't care about the direction he spits in)
Thank you in advance and I hope that someone will be kind enough to help me with these small problems!
Student or Learner


text:
Annie Minoff is Science Friday's SciArts producer. She's visited Olympic ski jumps and a nuclear reactor in the name of science.
An excerpt from David J. Peterson's The Art of Language Invention.
An excerpt from A is for Arsenic, by Kathryn Harkup.
An excerpt from Aziz Ansari's book "Modern Romance."
Meet the author of The Soul of a New Machine at Google's New York City headquarters.
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Science Friday® is produced by the Science Friday Initiative, a 501(c)(3) nonprofit organization.
Science Friday® and SciFri® are registered service marks of Science Friday, Inc. Site design by Pentagram; engineering by Mediapolis.


text:
Max 5 API Reference
This appendix describes the format of the data sent by a jit.net.send object.
The object attempts to form a TCP connection with a host at the IP and port specified by the object's attributes. Any program wishing to receive data will therefore have to set itself up as a host and listen for incoming TCP connections.
Once a connection is formed, data can be sent. Data is sent as a stream of chunks. The first thing received will be a chunk header. It consists of a 32-bit chunk ID and a 32-bit int representing the size of the next chunk to come. The chunk ID can be one of the following 4-char symbols, depending on what kind of packet it is:
#define JIT_MATRIX_PACKET_ID 'JMTX' #define JIT_MATRIX_LATENCY_PACKET_ID 'JMLP' #define JIT_MESSAGE_PACKET_ID 'JMMP'
This chunk header could be represented in C by the following struct:
typedef struct _jit_net_packet_header { long id; long size; //size of packet to come } t_jit_net_packet_header;
If the chunk is a matrix packet, the next data received will be a header of 288 bytes with the following contents:
288 (32-bit int, size of this header)
32-bit int
32-bit int, 0 for char, 1 for long, 2 for float32, 3 for float64
32-bit int
Array of 32 32-bit ints
Array of 32 32-bit ints
32-bit int, size of the data buffer to come
64-bit double precision float
This chunk could be represented with the following C struct:
typedef struct _jit_net_packet_matrix { long id; long size; long planecount; long type; //0=char,1=long,2=float32,3=float64 long dimcount; long dim[JIT_MATRIX_MAX_DIMCOUNT]; long dimstride[JIT_MATRIX_MAX_DIMCOUNT]; long datasize; double time; } t_jit_net_packet_matrix;
Following this header the next data received will be the matrix data, the size of which was passed in the above header. When using the data, please note the dimstrides transmitted in the header.
The time field in the above header will be set to the time of transmission from the sending computer. jit.net.send expects the server to respond by sending back timing data of its own – it uses this data to estimate the transmission latency. The exact data in the latency chunk that jit.net.send expects to receive is the following:
64-bit double, the time value received in the matrix header packet
64-bit double, the time on the server when the packet header is received
64-bit double, the time on the server after the packet has been processed and is in use
This chunk can be represnted by the following C struct:
typedef struct _jit_net_packet_latency { long id; double client_time_original; double server_time_before_data; double server_time_after_data; } t_jit_net_packet_latency;
The difference between the server time before and server time after processing the data represents the time it takes the server to mobilize the data after it has been received. jit.net.send will send and expects to receive time in milliseconds. When this timing information is received by the transmitting computer, it notes its current time, calculates the round trip time and then estimates the latency as half the round trip time plus half of the server processing time. This estimate is accurate if the time of flight from A to B is the same as the time of flight from B to A, but network topology can be very complicated, and often the route from A to B is not the reverse of the route from B to A. In simple situations, such as a direct connection between two computers or a small LAN, the estimate should be reasonably accurate.
Finally, the last type of packet that can be sent is the message packet. The size of the message packet is sent in the initial header packet. Standard A_GIMME messages (t_symbol *s, long ac, t_atom *av) are serialized starting with a 32-bit integer that contains the size of the serialized message in bytes. Following that another 32-bit integer gives the argument count for the atoms. Following that comes the message atoms themselves, starting with the leading symbol if it exists. Each atom is represented in memory first with a char that indicates what type of atom it is: 's' for symbol, 'l' for long, and 'f' for float. For long and float atoms, the next 4 bytes contain the value of the atom; for symbol atoms a null terminated character string follows. Below is a C function that will deserialize a message passed in as a data pointer.
void gimme_deserialize(char *data, t_symbol **s, long *ac, t_atom **av) { char *curr = data; float *currf; long *currl,i; long datasize = BE_I32(*((long *)curr)); curr += sizeof(long); *ac = BE_I32(*(long *)(curr)); curr += sizeof(long); *av = (t_atom *)sysmem_newptr(sizeof(t_atom)*(*ac)); if (*curr == ATOM_SERIALIZATION_SYMBOL_CODE) { curr++; *s = gensym(curr); while (*(++curr) != '\0') ; curr++; } else *s = 0L; for (i=0;i<*ac;i++) switch (*curr++) { case ATOM_SERIALIZATION_SYMBOL_CODE: (*av)[i].a_type = A_SYM; (*av)[i].a_w.w_sym = gensym(curr); while (*(++curr) != '\0') ; curr++; break; case ATOM_SERIALIZATION_FLOAT_CODE: (*av)[i].a_type = A_FLOAT; (*av)[i].a_w.w_float = BE_F32(*((float *)curr)); curr += sizeof(float); break; case ATOM_SERIALIZATION_LONG_CODE: (*av)[i].a_type = A_LONG; (*av)[i].a_w.w_long = BE_I32(*((long *)curr)); curr += sizeof(long); break; } }


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16.30 - 19.30 10.00 - 18.00
Inspection Grade: Not Inspected
Forest Kids Before and After school Club
At Forest Kids before and after school club we aim to provide a smooth transition between school and the club and to encourage safe,…
Wingrove HallBeech Hall RoadHighams ParkLondonE4 9NT
07895 609000 07596054550
Forest Kids Messy Play
Activities are suitable for ages 10 months – 4 years. The sessions are run weekly and includes; crafts table, playdough…
Beech Hall RoadHighams ParkLONDONE4 9NT
07895 609000 07596054550
Age Ranges: 0 - 4 YEARS
Forest School
Forest School is one of the very few diamond structure schools in the country. Our 1,300 boys and girls, aged…
SnaresbrookLondonE17 3PY
020 8520 1744 Fax: 020 8520 3656
Age Ranges: From 4 years to 18 years
Frederick Bremer School
Frederick Bremer School is an 11-16 community school in Walthamstow, Waltham Forest. We are a non-selective school for the local…
Frederick Bremer SchoolSiddeley RoadWalthamstowLondonE17 4EY
020 8498 3340
Age Ranges: From 11 years to 16 years
Opening times:
8.30 - 3.00
Inspection Grade: Good


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Hristo Vitchev
Modern Impressionistic Jazz Guitarist/Composer from Bulgaria/USA
About Me
Hristo Vitchev is an impressionistic modern jazz guitarist and composer from
Sofia, Bulgaria. Now residing in the San Francisco Bay Area, Hristo leads a
variety of modern jazz formations, ranging from duets to quintets. Hristo has
toured nationally and internationally, appearing at some of the most
jazz clubs and festivals, and has also performed guitar clinics in Europe and
Japan. He has written more than 270 original compositions, many articles on
improvisation, and a book on chordal theory and construction entitled Between
Voicings: A New Approach to Chord Building for Guitarists. The Hristo Vitchev
Quartet's 2009 debut album, Song for Messambria (First Orbit Sounds Music)
received outstanding reviews by the international jazz community and was
as one of the six best jazz albums of 2009 by E-JAZZ NEWS.
"Vitchev's sophisticated and adventurous work is imbued with shimmering harmonies and lyrical improvisations." – JAZZTIMES MAGAZINE
"Vitchev's multihued compositions are like impressionistic sound paintings." – JAZZIZ
Bulgaria-born, Bay Area-based guitarist Hristo Vitchev, having firmly established himself as a gentle giant in the contemporary jazz scene, seems always willing and able to reinvent himself while holding true to the integrity of his artistry. – ECM REVIEWS
"Vitchev is a master of the creative musical statement and every phrase and line that he plays reeks of innovation. His notes are slender and he casts them in melodies that arch and curve like wonderful and timeless architecture. His lines lope and gambol in dramatic parabolas as they shape the songs he makes so memorable." - JazzdaGama
"You just won't find a jazz guitarist (on the planet) these days who has such essential communication skills through his fingers." – Improvijazzation Nation Magazine
"Hristo Vitchev may be one of the best kept secrets in jazz today. He is the epitome of sonic gold." – DIGITAL JAZZ NEWS
"Hristo Vitchev plays as the cultural end result of his life experiences. Simply put, Vitchev plays more so from the heart than he does the head." – Critical Jazz
"A richly textured album full of strong melodic and rhythmic ideas and with some superb playing throughout." – THE JAZZ MANN (England)
"Hristo is now looked upon as one today's finest jazz guitarists around the world. He's a creative artist with a strong passion and endless originality. His music has magic powers since he can bring listeners' emotions to a far deeper place that few people ever reach." - Andrea Nardini (The Noodle Chronicle - Shanghai, China)
As jazz critic Edward Blanco describes: "Vitchev is the newest guitarist to enter the national jazz scene and does so with a stunner of a recording in Song for Messambria, one of the finest debut albums I've had the pleasure of appraising this year."
The record presents a unique blend of ECM-style modern jazz, classical, and Brazilian tone textures, and showcases the completely unique and masterful interpretation of the jazz idiom by each one of its members. In late 2009, Hristo Vitchev released his second studio album featuring Latin Grammy-nominated pianist Weber Iago. The Secrets of an Angel is an impressionistic landscape painted by the delightful and graceful conversation between the two instruments (guitar/piano).
As jazz critic Brad Walseth describes: "On the heels of his impressive debut recording, Song for Messambria, guitarist Hristo Vitchev returns along with pianist Weber Iago for a wonderful guitar/piano duet recording - The Secrets of an Angel...while the gentle title track shimmers like a glistening iceberg on a cold sea. The delightful two-part 'The Last Pirate" is a highlight - brilliantly showcasing the exciting romantic bend inherent in Vitchev's music, while the nostalgic lullaby "Leka Nosht (Good Night)" recalls a faraway youth and rounds out this fine release."
In 2010 Hristo Vitchev wrote a large scale jazz work (The Perperikon Suite) especially to be premiered at the 53rd Monterey Jazz Festival. This 7 movements jazz suite is inspired by the ancient Thracian city of Perperikon (located on the territory of Bulgaria), and combines orchestral, classical, jazz, and fusion elements depicting the history and mystery of this enchanting place. The work marks Hristo Vitchev's third album and one of his most adventurous and sophisticated works up to date. For the recording of this project the Hristo Vitchev Quartet was joined by virtuoso vibraphonist and multi-instrumentalist Christian Tamburr.
As jazz critic Dan Bilawsky describes: "Shimmering harmonies resonate throughout these modern jazz marvels, and the soloists work their way around and through this accessible and exciting music with equal measures of taste, technique and spirit. Vitchev's pieces are peppered with signpost sonorities and ideas that often reappear throughout a given song, creating a sense of continuity and thematic steadiness that develops around individual soloists. While this group ably establishes its own aural identity, which threads its way through the whole album, each movement of the suite has different strengths and a unique sonic footprint. Brought to life as a tale of two cities, The Perperikon Suite ultimately occupies its own wondrous world within the confines of its jazz borders."
As jazz critic Brent Black describes: "There is an incredible warmth to Vitchev's playing, a fluidity of movement and direction held firmly in place by a stellar quintet that provides ample support for the lyrical imagery created on this release. Aside from the superior sound which almost smacks of a live in the studio recording, there is a true working band feel that Vitchev has been able to obtain. Vitchev displays an unparalleled versatility moving from the flash of "The Acropolis" to the more introspective "The Southern City" allowing for a wonderfully paced recording. The drumming of Joe DeRose creates a special dynamic tension on the tune "The Great Hall." A release that ends far too soon. Wonderfully crafted, well paced and a sonic tapestry that stands up as well as any release for this past year."
As jazz critic Bruce Lindsay describes: "The music, performed by a terrific quintet, is beautiful: it captures images not of a city in ruins but of a city full of life, of vibrant activity. The Perperikon Suite is an impressive creation. Each individual tune is beautifully crafted, but so, too, is the Suite as a whole. Vitchev's response to the ancient city is remarkable in both its conception and its performance."
As jazz critic Michael Bailey describes: "Many time motifs are used throughout this suite. Tick-tock ascending and descending figures pass as a thread through cloth, to hold this musical garment—a coat of many colors—together. Vitchev achieves this effect with no apparent effort or change in guitar tone or approach. Merely by affecting the time signatures, Vitchev makes his magic. The Perperikon Suite is soft-spoken and brainy music that exists out of the ordinary."
As jazz critic Brad Walseth describes: "The new songs are the strongest Vitchev has written yet, and the addition of Tamburr serves to take the music to an even higher level. Vitchev, meanwhile, continues to impress the listener with his addictive blend of jazz with touches of classical, Brazilian and Eastern European influences in both his playing and songwriting. In lieu of visiting the legendary site yourself, listeners are urged to take a musical journey to the ancient location as seen through the senses of Hristo Vitchev and shared with you through his highly satisfying musical presentation."
As jazz critic Ed Blanco describes: "Hristo Vitchev and his inspirational quintet provide an all-new experience on The Perperikon Suite, a concept album that is accessible, creative and a pleasure to spin often."
In 2012 Hristo embarked on yet another musical chapter of his life. Heartmony is the long awaited and highly anticipated follow up to the first duet recording by the guitarist and pianist Weber Iago (The Secrets of an Angel). As the title of the record will suggest, Heartmony explores a truly intimate, honest, and emotional conversation between the two instruments. The music, which transports you from impressionistic landscapes to folkloric tales and from melancholic memories to meditative trances, is simply the purest harmonious sounds Vitchev has put on tape up to date. Straight from the heart, healing energy that will embrace you long after you listen to it.
"An absolutely wonderful recording." – JAZZTIMES
"If ever there were a marriage between classical music and jazz then this Heartmony is it. Hristo Vitchev and Weber Iago have created a very special experience." – Grady Harp (Amazon.com)
"Both on and off the bandstand, Vitchev is an artist who wears his emotions on his sleeve. His new "Heartmony," a duo session with his frequent collaborator, Brazilian pianist Weber Iago, provides a master class in the way a chord or harmonic progression can evoke a flood of sensations." – Andrew Gilbert (San Jose Mercury News)
"Guitarist Hristo Vitchev and longtime collaborator, pianist Weber Iago, have created a work of sublime musicality with Heartmony. Exquisitely lyrical, although a bit too sweet, this opus brings together multiple musical influences into a coherent and cohesive, multilayered narrative, the momentum of which does not slack from the first few notes to the very last. Vitchev and Iago interweave long musical threads into a shimmering soundscape of serene beauty." – Hrayr Attarian (All About Jazz)
As jazz critic Brent Black describes: "Heartmony is a sonic mosaic pieced together from heartfelt feelings and emotions carried through time and communicated in an incredibly heartwarming and emotional presentation that exemplifies the zen concept of less is more perhaps as well as any recording of the last decade. The musical sound of one hand clapping. Vitchev and Weber's music transcends the more traditional jazz idiom in much the same fashion that their recorded work here is that of a more cohesive unified voice with subtle shadings, lyrical swells and the textured nuances that creates music that is to be experienced. An incredibly beautiful artistic statement of personal experience."
"Guitarist Hristo Vitchev and pianist Weber Iago sounds like a perfect match in a musical heaven, if such things exist. What I'm saying here is that this is a duet album that sounds perfect, music made from the heart and soul. There's warmth, there's care, and there's a human quality to this that no machine can replicate, and it is that Heartmony that makes this a powerful album worth listening to repeatedly." – John Books
As jazz critic Dan Bilawsky describes: "The eleven originals are all musical offerings from the heart and soul, but this isn't a one-dimensional recital. Some songs are full of life and positive energy, while others have a sense of regret and nostalgia sewn into their being, but they're all painted in sharp, vivid colors, thanks to the skills of both artistic practitioners at play."
"This set of guitar-piano duets is quietly emotional, always intriguing and quite original. Vitchev's clear toned guitar blends in perfectly with Iago's powerful piano and the two musicians often seem to think as one. Heartmony is quite thought provoking and well worthy of many close listens. Highly recommended." – Scott Yanow
"Vitchev and Iago play together with the assurance born of long and fruitful collaboration. They know each other well, and it shows in the skillful way they complement each other. They take a beautiful melody and run with it. They wring every bit of emotion out of it. There are passages in a composition like "Memories in Black and White," nocturnal moments in "The Last Leaves which Fell in Fall," that sound like they could have been written by a nineteenth century Polish Romantic. Then there are moments in the same songs where there are glints of French Impressionists." – Jack Goodstein (blogcritics.com)
"Hristo Vitchev is a gifted composer and master guitarist whose stylish approach to the music makes him a hidden wonder of the jazz world. Heartmony is an intelligent musical statement and gentle follow up to his previous works, a relaxing soulful musical experience sure to touch a piece of your heart." – Ed Blanco (E-JAZZ NEWS)
In January 2013, Hristo Vitchev released "Familiar Fields" – his 5th record as a leader (and his 2nd quartet recording). The music presented in this session clearly displays the multidimensional tonal evolution of the band and each one of its individual members. The addition of drummer extraordinaire Mike Shannon to the quartet establishes a portal to new sonic landscapes and emotions to be explored in this collection of 9 original pieces by the guitarist. The music, which takes the listener through the realms of impressionistic, classical, jazz, experimental, and new age, always retains the unique sonic footprint that has brought critical acclaim to the quartet all over the world.
"Vitchev paints a vivid pastoral landscape with epic sweep, often recalling the big-sky sound of Pat Metheny. Obviously, these musicians are more than comfortable with one another, as one delicate solo seamlessly segues into another." – JAZZIZ
"Once again Vitchev has produced an immaculately crafted, often supremely beautiful album." – The Jazz Mann (England)
"If Pat Metheny and Larry Carlton are considered the kings of impressionistic jazz guitar, then certainly Hristo Vitchev is a crown prince and ready to lead a palace coup. In fact, "Familiar Fields" easily stands equal to even their greatest albums. Part of the reason for that has to be credited to Hristo's choice of musicians in the quartet. The musical affinity and effortless grace shines forth on this album like few recordings I have ever heard. They share a single heart and mind that bursts forth in illumination on every track. There is no weak moment or weak player on this album." – Travis Rogers (JAZZTIMES)
"Over the past few years, Bulgarian-born, Bay Area-based guitarist and composer Hristo Vitchev has consistently crafted music of great lyrical beauty. With his self-named quartet or quintet, or in duet with pianist and frequent collaborator Weber Iago, Vitchev has advanced a sound that manages to sound intimate and epic at the same time. He does so again on Familiar Fields (First Orbit Sounds), his latest recording with his quartet, which welcomes new member Mike Shannon on drums. As he has on previous recordings, Vitchev makes use of classical imagery and narratives in song titles such as "The Prophet's Daughter," "The Mask of Agamemnon" and "Wounded by a Poisoned Arrow," the last of which is our selection. Vitchev's instrumental voice bears echoes of the tonal warmth and big-sky sweep of Pat Metheny, as he and Iago, his beyond-simpatico musical compatriot, switch off on leads, riding the rolling hillocks of rhythm provided by Shannon and acoustic bassist Dan Robbins. Shannon proves an exceptional addition to the group, responding to and driving his companions in equal measure." – JAZZIZ
As jazz critic Hrayr Attarian describes: "Bulgaria-born and San Francisco- based Vitchev has established himself as a modern day troubadour. His enchanting and fantastical tunes have the feel of medieval ballads abundantly peppered with futuristic sounds. His sixth release, Familiar Fields, presents nine impressionistic originals that showcase his maturing compositional skills as well as the superlative, improvisational talents of his working quartet. With each album Vitchev's oeuvre ripens and becomes more sophisticated without losing its delightfully spirited edge. Familiar Fields not only stands on its own merit as sublime music but also whets the appetite for what is yet to come."
"Familiar Fields is a highly intelligent, thought-provoking Impressionistic escapade." – Nicholas Mondello (All About Jazz)
"This release is a clear statement from an artist comfortable with who he is and where he is going. There are no absolute truths in music but instead there are shades of gray which Vitchev and his quartet fill in with the precision of a surgeon and the soul of a true artist. Never caught up in the academics of his works, Vitchev instead conducts a sonic exploration with the end result being a release that gives up something new with each subsequent spin. An ebb and flow unmatched, or perhaps unlike Vitchev, an ebb and flow that other artists simply can not match. As close to perfect as it gets!" – Brent Black (CriticalJazz.com)
"The Hristo Vitchev Quartet, ladies and gentlemen, is in peak form. They have no competition: no other music in the jazz idiom is quite as satisfying." – Grady Harp (Amazon.com)
"The musical bond between guitarist Hristo Vitchev and pianist Weber Iago is as strong as that of Chick Corea and Gary Burton, with proof being their two sublime duet recordings, The Secrets of an Angel and Heartmony, as well as three small group sessions under Vitchev's name. For the Familiar Fields quartet date with regular bassist Dan Robbins and new drummer Mike Shannon, Vitchev chose nine gems to play from his vault of more than 270 original compositions. As usual, as one listens to Vitchev's music, the words lyrical, impressionistic, spiritual, and passionate come to mind, and also Vitchev's term heartmony, which he defines as the simultaneous combination of feelings and emotions, especially when produced by experiences, memories, and stimulations pleasing to the heart, body, and soul. – Scott Albin (JAZZTIMES)
"The emotional essence of any Hristo Vitchev recording can be seen before it's heard via the distinctive oil paintings the guitarist creates for his CD jackets. Vitchev's artwork for Familiar Fields is impressionistic, haunting and autumnal, the same qualities that characterize his latest collection of tunes. The foursome's interplay is highly intricate, resulting in emotive tunes that wax and wane in intensity. Whether you call it post-bop or post-fusion, Vitchev's brand of jazz is passionate and ethereal. He has developed into a formidable guitarist and intelligent composer, and since he's only 32 years old, his best work may be yet to come." – Ed Kopp (Jazziz)
"Within Vitchev's tone and technique, it's not difficult to hear the influences of Wes Montgomery, Pat Metheny and Lee Ritenour. He is adept at the full range of extended techniques but is most often described - justifiably - as an impressionist." – Karl Ackermann (All About Jazz)
"Of the many attributes that Bulgarian (San Francisco based) guitarist Hristo Vitchev possesses - refined technical abilities, warm tonality, and expressive soulfulness - his gift to convey beautiful stories through intricate composition is always at the heart of his appeal." – Mark F. Turner
In October 2013, Hristo Vitchev released his 6th album as a leader. Rhodopa is a beautifully crafted sonic pairing of the extremely emotional and lyrical Bulgarian folklore and the multidimensional and deeply textured world of modern jazz harmony. On his new music journey, the guitarist is joined by virtuoso Bulgarian clarinetist Liubomir Krastev. As jazz critic Dan Bilawsky describes: "Hristo Vitchev and Liubomir Krastev cover everything from the mystical to the mournful and the grim to the gleeful on this absorbing duo date."
"Hristo Vitchev takes improvisational music to a third dimension of texture you can feel. Rhodopa is my selection for album of the year for 2013. Critically acclaimed guitar virtuoso Hristo Vitchev started the year with the release of the highly regarded Familiar Fields. With Rhodopa, Vitchev has now assumed his rightful place as a global virtuoso of unrivaled talent and ability. As artistically gifted as he is technically proficient, Hristo Vitchev moves to the head of the pack with this stellar outing." – Brent Black (CriticalJazz.com)
"Hristo boldly departs from the group setting and gives the audience even more of what they crave - soulful arrangements and virtuosity with heart. There is a beauty and an elegance that comes through on each and every one of Hristo Vitchev's recordings. The music he composes, the arrangements he crafts, the musicians that he assembles together and the dignity and reverence of his musicianship speak of the heart of the man and his love of life." – Travis Rogers (JAZZTIMES)
As jazz critic Hrayr Attarian describes: "The warm, poetic tunes are like fairy tales in verse. They are imbued with nostalgia, and shimmer with a variety of muted colors and sentiments. Krastev's softly undulating tones waver against Vitchev's vibrating strings in a spiritual celebration of abstract beauty. This thematically unified work is a genre bending, elegant and satisfying opus and a new high for Vitchev who continues to excel himself on each fresh release."
"Modern jazz guitarist, pianist and composer Hristo Vitchev always refreshes the ear and the soul with his inordinately sensitive, mesmerizing, and beautiful approach to music. He is unique - and artist who explores every avenue of approach to both folk music and jazz and the result is an experience that simply no one else can match." – Grady Harp (Amazon.com)
"With Rhodopa, guitarist/composer Hristo Vitchev and clarinetist Liubomir Krastev meld musical minds, dive exuberantly into an array of earthy Bulgarian folk material and come up with four hands of beauty. The result is a panoply of aural color, emotion, and technical artistry." – Nicholas Mondello (All About Jazz)
As jazz critic Ed Blanco describes: "Rhodopa is an instrumental serenade of Bulgarian folklore music interpreted by a world-class guitarist and clarinetist. Hristo Vitchev and Liubomir Krastev deliver an enchanting and relaxing escape from reality with a fifty-three minute encounter of soul-reaching music."
"You just won't find a jazz guitarist (on the planet) these days who has such essential communication skills through his fingers. With Liubomir's reeds, they form a cultural jazz experience that can't be compared with anything else!" – Dick Metcalf (Improvijazzation Nation Magazine)
In January 2016, Hristo Vitchev released In Search of Wonders. The highly anticipated double album by the impressionistic Hristo Vitchev Quartet marks the 7th release as a leader for the internationally acclaimed guitarist. The new compositions and sonic textures explored here, catalog the evolution of this award winning group over the last decade, and present a sound and style that is completely unique and truly identifiable with the quartet. For the recording of this project the group decided to first take the music on the road all around the world, and let each piece evolve night after night, letting it settle naturally and effortlessly into its final shape and place, which you can now experience on this marvelous release.
Beautiful. Complex. Aerial. Solid. Listening to guitarist Hristo Vitchev is like waiting for blessings, and watch them as they come rushing in to the soul, making it brighter. - Esther Berlanga- Ryan (Jazz Journalist)
"Vitchev and Singh (Iago) seem to be telepathically linked, their phrasing and tones completely compatible, as heard on the album's title track, our selection. Where one mind leaves off and the other begins is difficult to ascertain, as they eloquently converse, trading solos and comps, while Robbins and Shannon beautifully anchor and fluidly propel the proceedings." - JAZZIZ
As jazz critic Grady Harp (Amazon.com) describes: For those who have discovered the compositions and artistry of Bulgarian American Hristo Vitchev, congratulations! This new recording is a gift to you. For those who have yet to experience the manner in which this gifted guitarist and composer brings a new vitality and globally significant response to jazz, this is as fine an aperitif as any of his six CDs. The sound we hear here is a mysterious mixture of classical line, jazz technique in approach, new age, and experimental/spiritual - blended in a manner that is immediately recognizable as the sound of Hristo Vitchev - Impressionism.
"In Search of Wonders is more than one-hundred minutes of diverse, accessible and engaging music. As he has long been, Vitchev is beyond proficient in his array of techniques while remaining an overall impressionist; both being characteristics he shares with Singh. At their improvisational best, Vitchev and Singh are like two streams of thought at a confluence; each bringing their own charisma and exquisite style to a place that enhances both players and conveys—as the title suggests—a sense of wonder to the listener." – Karl Ackermann (All About Jazz)
"Original world-tinged modern jazz delivered in the same creatively unique style this guitarist, is known for. Intellectual, soul-searching, harmonically-rich and thoroughly enchanting." - Edward Blanco (All About Jazz)
"Vitchev is a prolific and talented composer with a rare gift for melody, a quality that he shares with the great Pat Metheny. Vitchev's writing is melodic, intricate and sophisticated with each piece telling a story, this is music with a strong narrative arc and an almost cinematic quality." – Ian Mann (TheJazzMann.com)
"Vitchev plays in a very lyrical and somewhat ambient style reminiscent of Pat Metheny and Steve Khan, with the elegance of Joe Pass." - Music Connection Magazine
As jazz critic Scott Albin describes: "This two-CD set is perhaps Vitchev's finest recording to date, featuring as it does 12 more lyrically resplendent tunes by the prolific composer, played by a group whose cohesiveness, commitment, and artistry continues to grow and flourish. The centerpiece remains the rapport between Vitchev and Iago, rivaling that of such pairings as Jim Hall and Bill Evans, Julian Lage and Fred Hersch, and Gary Burton and Chick Corea."
"My favorite guitar/piano team since - and heretically, including Pat Metheny and Lyle Mays. The symmetry and synergy of these four is remarkable and almost- telepathic. The musicianship and artistry, with a heart full of love, has brought forth an album that speaks from the soul to the soul and we are made better by the hearing from a soul such as Hristo Vitchev." - Travis Rogers (The Jazz Owl)
"Few guitarists have carried the torch of Pat Metheny so humbly as Hristo Vitchev, and never with such brightness of purpose as on his latest quartet album, In Search Of Wonders. The Bay Area-based musician and producer has since 2009 put out a consistent, top-flight catalog of records, ranging from explorations of his Bulgarian roots to straight-ahead jazz road trips, but always by original design. With Wonders, he has at last tackled that most risky of studio ventures: the double album. The result is not only a magnum opus, but his most emotional work so far." - ECM REVIEWS
"Vitchev has become one of the truly great contemporary jazz guitarists. There is such rare elegance and subtlety in his playing. He has established a graceful, exquisite style that's essentially unique. And this album is, indeed, filled with wonders." - Paul Freeman (PopCultureClassics)
On top of leading his own quartet, quintet, duo projects, and co-leading the group SEVA, Hristo Vitchev also co-writes and plays guitar with Joe De Rose and Amici - an energetic jazz/fusion formation lead by drummer Joe De Rose. Hristo Vitchev has appeared on countless radio shows/programs all around the world.
Hristo has also performed in world-class jazz venues and festivals including the 11th JARASUM INTERNATIONAL JAZZ FESTIVAL (Gapyeong, South Korea), 2015 Hong Kong International Jazz Festival (Hong Kong), 2015 Beishan International Jazz Festival (Zhuhai, China), JZ Club (Shanghai, China), T-Union Jazz Club (Guangzhou, China), Yoshi's Jazz Club (Oakland, CA), 2015 Mercedes-Benz SLO JAZZ FESTIVAL (San Luis Obispo, CA), Once In A Blue Moon Jazz Club (Seoul, South Korea), All That Jazz (Seoul, South Korea), B Flat Jazz Club (Tokyo, Japan), Kei Jazz Club (Tokyo, Japan), Kobe Modern Jazz Club (Kobe, Japan), Jazz Club Analog (Hamamatsu, Japan), Into The Blue Jazz Club (Machida City, Japan), Bach Dancing and Dynamite Society (Half Moon Bay, CA), Kuumbwa Jazz Center (Santa Cruz, CA), Anthology (San Diego, CA), Catalina Jazz Club (Hollywood, CA), The Jazz Corner (Hilton Head Island, SC), Heidi's Jazz Club (Cocoa Beach, FL), Alvas Showroom (San Pedro, CA), The Jazz Station (Eugene, OR), Egan's Ballard Jam House (Seattle, WA), Timucua White House (Orlando, FL), Ivories Jazz Club (Portland, OR), The Herbst Theater (San Francisco, CA), SOhO Jazz Club (Santa Barbara, CA), as well as major jazz festivals including the 53rd Monterey Jazz Festival (Monterey, CA), 2009/2010/2012/2013 AT&T San Jose Jazz Festival (San Jose, CA), 2010 and 2012 Redwood City "Jazz on Main" (Redwood City, CA), Okazaki Jazz Festival (Okazaki, Japan) and many more.


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We will witness the inner workings of a volcanic eruption while we walk in the path of a lava that flowed thousands of years ago. The lava tunnel is one of the biggest in Iceland and gets up to 30 metres wide and 10 metres high. The lava tube ceiling has caved in near the entrance, which creates beautiful columns of light. The fantastic range of colours of the tunnel wall is caused by the different mineral types of the rock.
This is a tour for the senses. Experience a new world, hear the talk of the cave and sense the forces of nature like you have never done before. Learn new things and step out of your comfort zone. Scenes from the Hollywood movie Noah, with Anthony Hopkins, were shot in this lava cave.
Challenge your senses!
Remember to dress warmly and wear sturdy footwear.


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Tennessee Williams' fresh adaption of the Chekhov's classic brings to life the story of Constantine, the sensitive young writer, whose quest for love, art and acceptance is larger than life itself.
Young playwright, Constantine, premieres his new play at his uncles lakeside estate; before family, friends and Nina, the young actress that he has deep feelings for. Constantine's mother, the famous actress Madame Arakadina (and Prima Donna), not one to suppress her true feelings for her son's contribution to the theatre, lets everyone know that she abhors it. Constantine sulks over his life, his art and continues to dote on Nina even though she only has eyes for Arkadina's companion, the established writer, Trigorin. Scorn and jealousy get the better of Constantine as Trigorin becomes more and more the object of affection for both Nina and Arkadina. The lives of these individuals as well as others in this tight knit ensemble soon find their dreams, infidelities and their self- deceptions revealed. As with most of Chekhov's plays, these individuals struggle to find sympathy, love and understanding.
The Notebook of Trigorin guide sections


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Complaining About Ministry?
Complaining About Ministry
One of the more interesting Old Testament Minor Prophets is Malachi—sometimes known as the "Italian Prophet" (that's a joke!). The book of Malachi speaks the words of God and calls the people back to pure devotion to the Lord.
Malachi covers a wide variety of topics that are symptomatic of waning devotion and he begins with the heart condition of the priests. The priests were the spiritual leaders of the people. In numerous places, they were called to shepherd the people and feed the people on knowledge and understanding (Jeremiah 3:15, 23:4, etc).
Yet in the first chapter of Malachi, the Lord brings His first condemnation on the priests because as they "go", so do the people. It's a case of the proverbial, "Fish rot from the head."
In chapter 1, verse 6 the Lord calls out the priests for presenting defiled sacrifices to the Lord. According to verse 8, they were offering blind sacrifices. These imperfect sacrifices pointed to a heart condition far more serious than might be otherwise seen. First of all, an imperfect sacrifice communicates the message to God and the public that the Lord does not deserve our best; we can take shortcuts with God because other priorities trump Him. Second, it also communicates God is not concerned with the best; He Himself is sloppy and therefore accepts sloppy service.
Third, it communicates the sins being atoned are not all that bad. To understand this third point, we need to remember the sacrifices in the Old Testament were an ongoing object-lesson of covering over sins with innocent blood. Because of his sins, the worshipper could not be in fellowship with God; the worshipper's sins were odious in the sight of the Lord and created a separation between them (Isaiah 59:2). However, if these sins were covered over by the righteous, innocent blood (life) of the animal (Leviticus 17:11), then the Lord would be shielded from their offence and once again, the sinner could have a relationship with the Lord (Leviticus 16:30).
But, if the priest was offering imperfect sacrifices, this pointed to the underlying notion that the person's sins were not that bad, and any old sacrifice would suffice. I'm sure they even reasoned within themselves saying, "Aren't all animals innocent? This blind goat is just as good."
So clearly, presenting imperfect sacrifices to the Lord was a terrible action and one that led the people to stray in their hearts.
Another cutting accusation against the priests is found in chapter 1, verse 13. The Lord says the priests were complaining about the burden of their ministry. They were saying, "My, how tiresome it is!" Wow, these are seriously cutting words because who hasn't made similar statements? Who hasn't looked at their workload and their competing priorities and felt their particular challenges were daunting and difficult to bear? Have we gone so far as to utter words like these? No doubt, we have all felt this from time to time and felt the temptation to speak what was in our heart.
The Hebrew word in Malachi 1:13 points to a more sinister disdain for the work of God. It's the word "mtela'a" which speaks to a weariness with a sense of frustration. Its root word (tela'a) contains the implication that the source of the weariness is something objectionable to begin with. In other words, it's as if the priests were worn out (and telling people as much) from their labors and deep down in their hearts, they didn't feel they should have to do the work to begin with!
This frightening warning should resound in the ears of God's servants. From time to time, I hear of God's people who declare their weariness with their work for the Lord. I can understand their heart ache.
For pastors, the preaching regime turns the week into just two days: Sunday and all the other days morphing into one. The phone calls come in constantly—the important ones are okay, it's the incidental calls late, at home, that exasperate us. There are countless meetings to be attended. People with frustratingly myopic perspectives squander our time on crazy hobby horses.
For ministry leaders, often they have to deal with difficult people. Often the volunteers take "vacations" without proper notice. Efforts become sloppy, quality suffers.
I agree and understand these challenges are real, but at the heart of this rebuke are these underlying principles that we must remember:
1) The Lord deals patiently with His people 24/7 without rest or break. If there was ever a person legitimately called to complain about the "mtela'a" of His job, it's the Lord. Yet He is patient with us, ever giving of Himself to us. As His servants, we must reflect this aspect of His nature.
2) The Lord's work is holy. It's a serious, solemn, high work. It's a holy work that endures into eternity. No matter how mundane the task, when done to the Lord, it is holy (Zech 14:21 speaks to this principle).
3) The weary heart betrays a fleshly heart. Philippians 2:13 explains the principle that God is at work in us "both to will and to work for His good pleasure." The Greek word "work" here is "energios" and it has the idea of "energy"—the heart of the meaning is that God will supply the "energios" for the tasks that He has set before us. If we are surrendered to Him, we will have His grace pumping into our souls, providing the ability and the energy to do His will. Yet the person who is wearied by the work has either a) distanced himself from fellowship with the Lord, or b) taken on tasks and challenges not of God—we can do this in many ways: by demanding an outcome not inline with the Lord, by fearing people and saying "yes" when we should have said "no", by squandering our time on non-priorities so we must add hours to our work day to finish our real responsibilities. I could go on, but these three cover a lot of territory.
So, in our pastoral ministry, we have many responsibilities. We are to "shepherd the flock of God…exercising oversight…according to the will of God…with eagerness (1 Pet 5:2)." We do this by taking "care of the church of God" (1 Tim 3:5) specifically as we "preach the word…reprove, rebuke, exhort, with great patience and instruction (2 Tim 4:2)." All of this being done with an eye to equip "the saints for the work of service, to the building up of the body of Christ (Eph 4:12) so the final result is we "present every man complete in Christ (Col 1:28)."
This is a very high calling. This is a high privilege. This is an utterly holy endeavor. No doubt there are seeds of bitterness waiting to take root and grow in our hearts. In each of our ministries, there are challenges and frustrations that tempt us to utter "My, how tiresome it is". But these words are sinful; they come from the flesh and are rooted in a fleshly perspective. Yet like all sins, they can be crucified by the Holy Spirit as we offer up our idols to God and confess that we would rather serve them that Him. In His mercy and grace, He will accept our confession and cleanse us from this sin (1 John 1:9).
May God's grace strengthen you and equip you in your service to Him.
Those are some of my thoughts, I'd love to hear yours.
Side-Stepping Popularity
Now of course, I'm not saying this as one who has mastered it, but rather one who is still learning to not interpret the applause as synonymous with success, to break away from the people and to meet with God and be sure that His will is being done, rather than the people's will.


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davidjamessingh necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 54 diseños de 18 diseñadores freelance.
Welcome to Stryde.ca: a small start-up aiming to help Gen-Y make a better transition into the workplace. The company is small—two people small and run by David Singh (Gen Y entrepreneur) and Daneal Charney (Gen X Leadership Coach). Together we're creating products to help young leaders make the transition into the workforce by giving them advice, helping them set relevant goals, and connecting them with peers to help execute those goals.
We are very much about collaboration, fresh approaches, and love to think and be creative. We're dynamic in many regards, but lack a technical ability to produce great art on the computer. INSERT YOU HERE!
Stryde.ca is a website, but the business is a larger concept. We are starting by building a series of e-Books, but eventually plan to grow into a full web 2.0, conversation era online offering.
For now though, we need a logo.
We've got two target audiences: Generation Y Leaders and Managers of Generation Y
Generation Y: Born between 1982 and 2000 these young leaders are uber tech savvy, love collaboration, have been in academic institutions their entire life, love feedback, have huge goals, want to make money and change the world, want everything now, and don't see why a rule can't be broken.
As they transition into their career they need help. They've told us, loudly! They want encouragement, advice, and a way to connect with their peers. They want a brand that can help them with that transition. This brand has to compete with the utility of facebook, the attractiveness of Nike and Starbucks, and needs to be as comforting as a best friend.
Managers of Generation Y: These people want to better understand their employees and want to know what makes them tick. They want tools and resources from a trusted source, but we don't want to be just another HR ploy.
We want a fresh approach with a logo to capture the "STRYDE Concept" of having generation Y strive for their best in their early career.
We need a logo.
What it must have:
- Clean lines that convey a sense of fresh profressionalism.
- Variations of the logo symbol with the words: STYDE, STRYDE.CA and room for a 4-5 word slogan (although this does not need to be in the logo itself)
- Colour scheme: Red, White, and Black (We're open to variations of these colours)
- We'll want the logo put on black, red and white backrounds
- Varying formats JPG, vectorized, PDF, etc.
- Varying sizes ready to fit: facebook, twitter, etc.
What we don't want:
- We don't want a cluttered image or one that is too WEB 2.0 (ie we don't want to be an abstract google or twitter concept)
Concepts to build from:
- Want to build off the a cube shape. In particular if you were to look at a cube from a 45 degree angle, a Y shape could be made form the vertical side and two upper sides that would be slanting upwards.
- We want the Y to be pronounced
- We want the .CA to used on a variation of the logo, but there to be a version with just STRYDE
Please see attached PDF of more on the brand concept.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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By Jeri Blanch, CFCA sponsor
Last year I had the privilege of going on a mission awareness trip to El Salvador to visit my sponsored children. One of the communities we visited was La Realidad, which had grown up around the town dump. The people ate scraps of food and used items from the dump. Their houses were made of cardboard. In order to find any type of employment, the parents had to leave the area to work. That meant that the children were left unattended during the day. School attendance was basically non-existent. Crime, including violent crime and murder, was rampant. The people lived without hope in the most abject poverty.
The turning point came about seven years ago when CFCA started working there. Food was provided to the families of sponsored children. The children started going to school and were required to attend extra tutoring classes after school. A soccer team was formed. Sheet-metal housing replaced the cardboard. As money became available, the sheet-metal houses were replaced by more substantial cinder-block homes, one family at a time.
When we were there last year, CFCA and the parents were getting ready to embark on a new venture. The mothers wanted to be able to work within their own community so they could look after their own children, as well as become financially self-sufficient. It was decided that learning to sew would be a way to accomplish both goals. CFCA was going to purchase the sewing machines and the first batch of material and provide someone to train them. After that, the women would purchase additional material with the profits earned from the sale of their finished products.
This year, I returned to El Salvador on a mission awareness trip. We went back to the community of La Realidad, so I had the opportunity to see the progress that has been made there. The women have been trained to make bedsheets, purses, hats, pillows and other similar items. They have the sewing machines in their homes, so even the mothers with very small children are able to both work and tend to their children. As a group, they set their own monthly goals, which they have consistently met. A certain amount of the money they earn is placed in a savings account, and they are taught how to most effectively manage their money.
Each of the women in turn stood up and told us what this project means to them. They are excited not just about what they have accomplished so far, but they are very excited about the future, both for themselves and for their children. They are looking forward to learning how to make school uniforms and other articles of clothing. The one father who has decided to participate wants to specialize in tailoring. They are hoping for an expanded market for their finished products and are thinking about ways to accomplish that.
In the community of La Realidad, which translates as "The Reality" in English, the dreams of the sponsored families are indeed becoming the reality, thanks to CFCA.


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- Maintenance Agreements
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We will ensure you recognize what to anticipate
To come up with the best decisions with Carpet Flooring in Deanville, TX, you should be kept informed. We will not let you make unwise judgments, as we know what we'll be doing, and we make sure you know very well what to be expecting from the venture. That's the reason we try to make every attempt to ensure you are aware of the steps and are not facing any sort of unexpected situations. Step one will be to give us a call by dialing 800-496-1479 to begin your project. We are going to go over your concerns when you call us and get you organized with a meeting. Our team is going to arrive at the scheduled time with all the appropriate equipment, and will work together with you all through the project.
Call Carpet Flooring Guys for Carpet Flooring in Deanville, Wyoming
You will have plenty of reasons to consider Carpet Flooring Guys for your requirements involving Carpet Flooring in Deanville, TX. Our company is the best option when you really need the best cash saving strategies, the best quality products, and the top rate of customer service. We offer the experience you will want to meet all of your objectives. Contact 800-496-1479 to communicate with Carpet Flooring Guys and review your goals concerning Carpet Flooring in Deanville.


text:
We found 2 items that match your search.
Tiger Paper, April 1973
This issue of the Tiger Paper leads with a story describing student demonstrations against the "threatened" implementation of tuition across CUNY campuses. It also features articles centered around "International Women's Day" and the Vietnam [...]
Item Type: Text (Newspaper / Magazine / Journal)
Subjects: Buildings and/or Architecture, Community Colleges, CUNY Administration, Diversity, Gender, Open Admissions, Politics, Tuition
Tiger Paper, March 1974
This issue of the Tiger Paper exposes what the editors consider a sham testimonial dinner for BMCC President Edgar Draper. Other articles of interest include an extended interview with a BMCC student who served in Vietnam, the detailing of [...]
Item Type: Text (Newspaper / Magazine / Journal)
Subjects: Activism, Buildings and/or Architecture, CUNY Administration, Diversity, Gender, Labor Unions, Politics


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Obama threatens 'family tattoo' if daughters get their own
If they were thinking about getting tattoos, the Obama daughters may want to reconsider.
Speaking on NBC's "Today" show in a segment originally filmed before the Boston Marathon bombings, President Barack Obama revealed the strategy he and First Lady Michelle Obama have been using to keep their daughters away from tattoos.
"What we've said to the girls is, 'If you guys ever decide you're going to get a tattoo, then mommy and me will get the exact same tattoo, in the same place, and we'll go on YouTube and show it off as a family tattoo,'" Obama said.
"Our thinking is that might dissuade them from thinking that somehow that's a good way to rebel."
During the segment, the president also said he understood his wife's "slip of the tongue" when she called herself a "single mother" in early April, noting that they were often apart for a week at a time when he was campaigning for the Senate and presidency.
"I tend to cut my wife or anybody some slack when it comes to just slips of the tongue," he said.
"But there's no doubt that there have been times where Michelle probably felt like a single mom ... She definitely, I think, understands the burdens that women in particular tend to feel if they're both responsible for child rearing and they're responsible for working at the same time," he added.
(Reporting by Gabriel Debenedetti; Editing by Cynthia Osterman)


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From my mail bag:
I've downloaded .avi files which is compressed into small sizes while maintaining relatively high visual quality using DivX format. How do I play DivX compressed files under Debian / Ubuntu Linux?
The current version of the DivX Community Codec for the Windows platform is version 6.6, and for Mac OS X is 6.6x. There is no Linux version available however with the help of VLC and DivX for Linux codec, you should able to play all sort of DivX files.
Download and Install DivX Linux Codec
Open terminal and type the following command to download DivX codec:
$ cd /tmp
$ wget http://download.divx.com/labs/divx611-20060201-gcc4.0.1.tar.gz
Untar DivX 6.1.1 codec for Linux:
$ tar -zxvf divx611-20060201-gcc4.0.1.tar.gz
Install divx611 codec:
$ cd divx611-20060201-gcc4.0.1
$ sudo ./install.sh
Press Q after reading agreement, please type yes to install codes.
Install vlc player
The VLC media player can be installed using apt-get command, type:
$ sudo apt-get update
$ sudo apt-get install vlc
How do I play files?
Open VLC player by Visiting Applications > Sound and Video > VLC Player. You can also open terminal and type the command:
$ vlc /path/to/my-downloaded-movie.avi
Further readings:


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Mount Dana Climber's Log
thebeave7 - Sep 10, 2004 3:04 amRoute Climbed: Use trail from Tuolumne Pass Date Climbed: July 21st, 2004
Gorgeous views, and if you start early enough you miss the crowds.
Eric J Lee
tahoeberne - Aug 13, 2004 8:28 pmRoute Climbed: From Tioga Pass up the north slope. Date Climbed: Circa 1988 and again in February 1990
An easy, direct hike and plenty of beautiful wildflowers on the lower slope.
When I stayed at the Tioga Lodge in the winter I snowshoed most of the peak from the pass and carefully hiked over snow and ice to the summit.
Shaase - Aug 10, 2004 2:48 pmRoute Climbed: Third Pillar Date Climbed: August 2, 2004
Great Booty today! Did this climb as a prelude to a longer hike into Conness the following day.
kovarpa - Aug 9, 2004 11:57 pmRoute Climbed: Standard Date Climbed: August 8, 2004
I did this as a "cool-down" hike after Connes the previous day. Very nice views from the top - Mono Lake, Conness, Lyell...
TDRoberts - Jul 23, 2004 3:33 pmRoute Climbed: NW Ridge Date Climbed: Oct 2002
Quick morning hike on way back from Whitney region. Nice views down to Mono Lake and into Yosemite high country.
poorboy44 - Jul 23, 2004 2:38 pmRoute Climbed: November 2001 Date Climbed: Third Pillar
We got stuck behind 2 other teams and froze. Man it was cold!!!!!!!!
Mgross - Jul 19, 2004 6:02 pmRoute Climbed: Standard Route Date Climbed: June 24, 2004
John, Michael, Martyn and Elizabeth Gross along with Sally Yates. We summitted just prior to a snowy thunderstorm. GRrrreat views from the top. The route is difficult at times to keep track of because of talus and scree intermixed with snow. Dana Meadows is one of the most beautiful places I have ever been.
jonathancamp - Jul 17, 2004 12:06 amRoute Climbed: Standard Route Date Climbed: June 27, 2004
After attempting Mt. Starr King the day before Chris Brand and I decided to climb Mt. Dana. Since our camp site was outside the park on the west side we did not reach the trailhead until 9 am. A pefect day saw us on the summit by 1:15 pm. We saw fellow SPer "Diggler" as well as an entire family (all four of them more athletic than us). Several marmonts kept us company while we tried to catch a quick nap. Trail was faint but fairly easy to follow. Once we had reached the plateau we made for the ridge and then followed it to the summit. I glissaded down a large snowfield above the plateau. AWESOME! According to Chris, while I was whooping and hollering as I flew down the slope, a party still climbling up the ridge stopped and cheered me on. I managed to stop before the rocks and saved myself 20 minutes of climbing down over rocks.
Awesome trip!
Rick Kent - Jul 7, 2004 12:51 pmRoute Climbed: Dana Meadows and then NE to the summit Date Climbed: May 15, 2004
Drove up on the day (or day after) the Tioga road was opened. Started out at the parking lot at Dana Meadows (Mono Pass Trailhead) and followed the Dana Fork until about about a mile SW of the summit. From here I headed North to meet up with the common route West of the summit. Couldn't locate a summit register. Descended to the flat area SE of the summit and then followed the Dana Fork back to the parking lot. Views of the surrounding snow covered mountains were spectacular.
Diggler - Jun 30, 2004 5:51 pmRoute Climbed: Touron route from Tioga Pass Date Climbed: 27 June, 2004
After tweaking my finger in the gym, the weekend's rock-climbing plans had to be scrapped & replaced by a worthy hike. This mountain having defeated John & me in July of 2002 (we successfully climbed the Dana Couloir in ice conditions, but got to the top of the climb at 21.00, subsequently deciding to traverse around the side of the mountain instead of summiting then going down- bad idea!!), I thought this would be a good time to strike back. That it would be Lara's first hike above 13k' was also a good reason.
After hanging out at Mono Lake the day before & camping at the Tuolumne Meadows campground (Mosquito City!!), we got a late start of 10.10 from Tioga Pass. Made decent time, however, & soon picked up the trail. Seeing storm clouds building but reluctant to turn around, I stashed my poles, ice tool & axe [brought both along so Lara would have an axe, too, in case we needed them] about 1,000 ft from the top, decreasing my resemblance to a lightning rod. I summited at 13.33. Hung out with various creatures & individuals up there, including Jonathan & friend from SP, an extreme fitness family from Marin, a Japanese smoker, a cute little bird, & multiple large, hungry marmots. After admiring the incredible scenery (how often can one see Mono Lake, Mt. Lyell, Mt. Conness, Cathedral Peak, Tuolumne Meadows, & Mt. Ritter at the same time??!!), cracking a brew, & eating a fake salami sandwich, we headed down at 14.20 to get away from the still-building thunderclouds. The Dana Couloir, I noticed, was frustratingly close!
Going down, there were still those coming up who seemed to be oblivious to the increasingly hostile-looking clouds & the fact that they were going to the top of the highest point around. After awhile on the descent, heard thunder in the distance. Getting below treeline, was relieved & more able to enjoy the fantastic surroundings. Stopped at one point to listen to the thunder & birds, before reaching unescapeable civilization again at Tioga Pass. Reminded me of summer days in the Colorado Rockies… nice. Got back to the car at 16.36, I think. Wonderful day, hike, & views in the Yosemite Sierra.
7.4.'8: nice Independence Day hike with Stephany (her first big mountain!), from Tioga Pass. Beautiful day & views.
cp0915 - Jun 28, 2004 10:25 amDate Climbed: June 27, 2004
A good hike. Nice views of the Sierra and half-frozen, iceberg'd Dana Lake down below.
mdostby - Jun 25, 2004 10:24 pmRoute Climbed: From the pass to the NW Ridge Date Climbed: June 24, 2004
Nice workout. Awesome views in every direction from the summit.
blmcclain - Jun 21, 2004 1:41 pmRoute Climbed: Dana Couloir - NW Ridge Traverse Date Climbed: June 20th, 2004
Started out from Tioga Lake at 6:30 am and was at the base of the couloir by 9:30. Half way up the couloir took my helmet off to wipe away the sweat and ended up dropping it. Glissaded to the bottom of the bowl to get it and back up the couloir. Snow is getting quite icy in the couloir and had much difficulty kick-stepping. Made the summit a bit after noon and enjoyed the views for an hour. Headed back down the NW Ridge and into Glacier Canyon. A little over 7 miles round trip but a summit I'd do again anytime!
birdhead - Jun 20, 2004 9:43 pmRoute Climbed: Standard NW Slope Date Climbed: June 17, 2004
Hiked with Jess and Ryan. Took about 3hrs to summit. Really good views of much of the park. Met one other hiker on top - Brett, I think. Took in the views for 30 minutes and headed down for a beer.
hyperbolictans - Jun 6, 2004 3:44 pmRoute Climbed: Dana Couloir Date Climbed: 5th June 2004
Drove up from Bay area and started from Tioga lake lookout at 9:30am and slowly hiked up the beautiful glacier canyon. Didn't reach the foot of the couloir till 2pm. Kickstepped up the couloir in about 2hr (No Bergschrund, some patches of hard snow). Took me more than an hour of postholing and cursing to get up to the summit from the saddle. The view was fantastic; nobody was around at the summit. Can't find summit logbook (is there one up there?)
Came down by the regular route.
Brett A - May 16, 2004 11:15 pmRoute Climbed: West Slope Date Climbed: May 16, 2004
This was my first 13er. There was still quite a bit of snow which helped a lot on the descent. My dad and I left the Bay Area at 6AM and started up the mountain at 8:45. When we saw how much snow there was we didn't think we would be going very far, but we kept going up to every false peak we saw, and then the real one. Weather was great, though a little cold and windy, and the view of Mono Lake was great, as well as the rest of the Sierras. We saw about 4 different parties on the way up, and a couple more on the way down, so it wasn't very crowded. ~5 hours up, 1:45 down.
Sam Mills - Jan 26, 2004 11:29 pmRoute Climbed: Dana Couloir Date Climbed: September 2001
One day climb up my first ice couloir. Impressive 360 degree view from the summit. Descended the NW slope.
mtnfoto - Jan 20, 2004 7:07 pmRoute Climbed: Dana Couloir Date Climbed: October 1977
Soloed the couloir. Huge bergschrund- I had to downclimb 30 feet or so to the bottom and front point up the other side. Climb was uneventful after that. Glad I had sharp tools!
Dave Dinnell - Jan 11, 2004 9:13 pmRoute Climbed: Standard Rt. Date Climbed: July 6, 1986
Assisted a group of kids from Camp Tawonga to the summit. Great Views and worth the effort.
mountaincheetah - Jan 9, 2004 3:18 pmRoute Climbed: Straight Up Date Climbed: October 6th 2003
Tough climb with no prep work and 4hrs of sleep, but left me and my partner wanting.


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Find out why a Claflin education is more than a means to a degree.
The best way to get a feel for Claflin is to visit us.
Claflin students work with the best leaders in their fields.
You'll find endless opportunities here to get involved.
There is always something happening at Claflin!
Claflin is #1 in alumni giving among all HBCUs, thanks to you.
Dr. Zia Hasan
VP Planning, Assessment & Information Services
Tingley Hall, Floor 3, Suite 8
Phone: (803) 535-5219
Fax: (803) 535-5431
Rev. Whittaker V. Middleton
Vice President for Institutional Advancement
Tingley Hall, Floor 3, Suite 10
Phone: (803) 535-5347


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Exibition October 6, 2006 - September 2, 2007 at the Atwater Kent Museum of Philadelphia.
Including paintings, photographs, prints, objects and documents, the exhibition uses William Penn's vision for Philadelphia to explore street activity over 300 years. Drawn almost exclusively from the City Records Department, individual City Departments and the Atwater Kent Museum, the exhibition showcases the recent program of the Records Department to make its holdings available on the Internet. The exhibition continues through September 2007.
Featured in the exhibition are the Philadelphia City Charter drafted by William Penn to residents in 1701, the wampum belt believed to have been given to Penn by the Lenape tribe, a waywiser from 1750 used to measure consistent city blocks, historic regulatory measures from the Department of Licenses and Inspection, police paraphernalia from the late 1800s, a pushcart used on the streets by Freihofer's Bread Company in 1900, torches from the 19th century used in parades, a banner from the 1840s opposing immigration, and parade puppets from Spiral Q.
According to Viki Sand, Executive Director of the Atwater Kent Museum of Philadelphia, "Streets tell a lot about the vitality of a city. They provide evidence of public welfare, the economy, transportation systems, quality of life and democratic participation. William Penn was both an urban planner and a real estate developer. He defined Philadelphia by creating a grid of wide, straight streets to promote commerce and public safety and to enhance civic life."
Sand continued, "Since 1682, Philadelphia's streets have been central to the city's identity as an urban center. While Penn's vision often clashed with the expectations of Philadelphia residents, it has remained a touchstone, a barometer, for subsequent generations to measure their care of the city's legacy."
A special feature of How Philly Works is a resource center with computer terminals providing Internet access to databases of the City Records Department. With these terminals, visitors may search real estate records and photo archives of homes, public buildings and streetscapes as well as birth, marriage, death and naturalization records from 1915-1960. Also available is a database of city street maps beginning in 1856 and continuing until the mid-1880s.


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For over thirty years, Politix has committed itself to being Australia's leading men's outfitter. With its sights set exclusively on menswear, Politix has perfected its art and remains one of the leaders in Australian male fashion, as a go-to trend label.
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