text:
Rock 'N' Jazz Clinic
Samba Coordination Builder
12 Independence Exercises Based on Chick Corea's "Sicily"
by Daniel Bédard
I listened to Friends a lot, mostly trying to figure out what Steve Gadd was doing on the drums. He plays a few fun sambas on the recording, and in this article I'll share some of the exercises I came up with while trying to master the beat to the tune "Sicily."
The "Sicily" drumbeat is based on an inverted paradiddle played over a samba foot ostinato. You'll execute the part open-handed, which means you'll play the hi-hat with the left hand and the snare with the right (or vice versa if you're left-handed).
Here's the main groove. It's important to play the accents as written so that the pattern has a nice flow to it.
After practicing Gadd's beat for a while, I came up with a routine of playing various rudiments in the open-handed position. This proved to be a great coordination challenge. Begin with singles leading with the right hand, and then try leading with the left hand. Make sure the hands and the bass drum are aligned.
Now play all four possible variations of double strokes.
Gadd's original pattern consists of a displaced paradiddle in the hands. Here are the other three paradiddle variations over the samba bass drum pattern.
Here are some variations based on odd groupings of three, five, and seven. Once you have all of these down, start mixing the exercises together to come up with your own variations of Gadd's samba groove.
All of the exercises are written with the right hand on the snare and the left hand on the hi-hat, but you could play them with your right hand on the ride cymbal and left hand on the snare, or with your right hand on the rim of a tom and your left hand playing rimclicks. It also sounds cool to play them using a brush in the right hand while striking the snare or tom with your bare left hand. To increase the coordination challenge, try playing the left-foot hi-hat on beats 1 and 3, on beats 2 and 4, or on all four beats. Have fun with it!
Daniel Bédard is a professional drummer from Montreal. For more information, visit danielbedarddrums.com/en.


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|Buddy Guy
Buddy Guy interacting with the audience in a live performance, 2011
|Background information
|George Guy
July 30, 1936
Lettsworth, Louisiana, U.S.[1]
|Chicago blues, blues, electric blues, blues rock
|Musician, songwriter, guitarist
|Guitar, vocals
|RCA, Cobra, Chess, Delmark, Silvertone, MCA, Atlantic, MPS, Charly, Zomba Group, Jive, Vanguard, JSP, Rhino, Purple Pyramid, Flyright, AIM Recording, Alligator, Blues Ball Records
|Junior Wells, Phil Guy, Memphis Slim, Jimi Hendrix, Eddie Boyd, Muddy Waters, Big Mama Thornton, Howlin' Wolf, Eric Clapton, B.B. King, Willie Dixon, Otis Spann, Sonny Boy Williamson II, Stevie Ray Vaughan, Otis Rush, Jonny Lang, Quinn Sullivan, Marty Sammon, Darren Thiboutot Jr., The Damn Right Blues Band, Tom Hambridge
George "Buddy" Guy (born July 30, 1936)[2] is an American blues guitarist and singer. He is an exponent of Chicago blues and has influenced eminent guitarists including Eric Clapton, Jimi Hendrix, Jimmy Page, Keith Richards, Stevie Ray Vaughan, Jeff Beck and John Mayer. In the 1960s, Guy played with Muddy Waters as a house guitarist at Chess Records and began a musical partnership with the harmonica player Junior Wells.
Guy was ranked 30th in Rolling Stone magazine's "100 Greatest Guitarists of All Time".[3] His song "Stone Crazy" was ranked 78th in the Rolling Stone list of the "100 Greatest Guitar Songs of All Time".[4] Clapton once described him as "the best guitar player alive".[5] In 1999, Guy wrote the book Damn Right I've Got the Blues, with Donald Wilcock.[6] His autobiography, When I Left Home: My Story, was published in 2012.[7]
Guy was born and raised in Lettsworth, Louisiana.[1] He began learning to play the guitar using a two-string diddley bow he made. Later he was given a Harmony acoustic guitar, which, decades later in Guy's lengthy career, was donated to the Rock and Roll Hall of Fame.[]
In the early 1950s Guy began performing with bands in Baton Rouge. While living there, he worked as a custodian at Louisiana State University.[1]
Soon after moving to Chicago on September 25, 1957,[1] Guy fell under the influence of Muddy Waters. In 1958, a competition with West Side guitarists Magic Sam and Otis Rush gave Guy a record contract. Soon afterwards he recorded for Cobra Records. He recorded sessions with Junior Wells for Delmark Records under the pseudonym Friendly Chap in 1965 and 1966.[8]
Guy's early career was impeded by conservative business choices made by his record company, Chess Records, his label from 1959 to 1968, which refused to record Guy playing in the novel style of his live shows. Leonard Chess, Chess Records founder, denounced Guy's playing as "noise". In the early 1960s, Chess tried recording Guy as a solo artist with R&B ballads, jazz instrumentals, soul and novelty dance tunes, but none of these recordings were released as a single. Guy's only Chess album, I Left My Blues in San Francisco, was released in 1967. Most of the songs belong stylistically to the era's soul boom, with orchestrations by Gene Barge and Charlie Stepney. Chess used Guy mainly as a session guitarist to back Muddy Waters, Howlin' Wolf, Little Walter, Sonny Boy Williamson, Koko Taylor and others.
In 1965, Guy participated in the European tour American Folk Blues Festival.
He appeared onstage at the March 1969 "Supershow" in Staines, England, which also included Eric Clapton, Led Zeppelin, Jack Bruce, Stephen Stills, Buddy Miles, Glenn Campbell, Roland Kirk, Jon Hiseman, and the Misunderstood. In 1972, he established The Checkerboard Lounge, with partner L.C. Thurman.
Guy's career took off during the blues revival of the late 1980s and early 1990s. It was sparked by Clapton's request that Guy be part of the "24 Nights" all-star blues guitar lineup at London's Royal Albert Hall. Guy subsequently signed with Silvertone Records.
Guy performs a month of shows each January at his Chicago blues club, Buddy Guy's Legends.[9][10]
In 2015, Alan Harper, a British blues fan, published the book Waiting for Buddy Guy: Chicago Blues at the Crossroads.[11]
This section does not cite any sources. (May 2018) (Learn how and when to remove this template message)
While Guy's music is often labelled Chicago blues, his style is unique and separate. His music can vary from the most traditional, deepest blues to a creative, unpredictable and radical gumbo of the blues, avant rock, soul and free jazz that changes with each performance.
As the New York Times music critic Jon Pareles noted in 2004,
Mr. Guy, 68, mingles anarchy, virtuosity, deep blues and hammy shtick in ways that keep all eyes on him.... [Guy] loves extremes: sudden drops from loud to soft, or a sweet, sustained guitar solo followed by a jolt of speed, or a high, imploring vocal cut off with a rasp.... Whether he's singing with gentle menace or bending new curves into a blue note, he is a master of tension and release, and his every wayward impulse was riveting.
In an interview taped on April 14, 2000, for the Cleveland college station WRUW-FM, Guy said,
The purpose of me trying to play the kind of rocky stuff is to get airplay...I find myself kind of searching, hoping I'll hit the right notes, say the right things, maybe they'll put me on one of these big stations, what they call 'classic'...if you get Eric Clapton to play a Muddy Waters song, they call it classic, and they will put it on that station, but you'll never hear Muddy Waters.
For almost 50 years, Guy has performed flamboyant live concerts of energetic blues and blues rock, predating the 1960s blues rockers. As a musician, he had a fundamental impact on the blues and on rock and roll, influencing a new generation of artists.
Guy has been called the bridge between the blues and rock and roll. He is one of the historic links between Chicago electric blues pioneers Muddy Waters and Howlin' Wolf and popular musicians like Eric Clapton, Jeff Beck, Jimi Hendrix, Jimmy Page and later revivalists like Stevie Ray Vaughan. Vaughan stated that "Without Buddy Guy, there would be no Stevie Ray Vaughan." Guitarist magazine observed,
Guy's guitar techniques also contributed greatly to rock and roll. His guitar playing is loud and aggressive, uses pioneering distortion and feedback techniques, employs long solos, has shifts in volume and texture, and is driven by emotion and impulse. These characteristics were eagerly learned and applied by the new wave of 1960s British artists and later became basic attributes of blues-rock music and its offspring, hard rock and heavy metal music. Jeff Beck realized in the early 1960s that "I didn't know a Strat could sound like that--until I heard Buddy's tracks on the Blues From Big Bill's Copa Cabana album" (a reissue of the album 1963 Folk Festival of the Blues) and that "It was the total manic abandon in Buddy's solos. They broke all boundaries. I just thought, this is more like it! Also, his solos weren't restricted to a three-minute pop format; they were long and really developed."[]
Clapton has stated that he got the idea for a blues-rock power trio while watching Guy's trio perform in England in 1965. Clapton later formed the rock band Cream, "the first rock supergroup to become superstars" and "the first top group to truly exploit the power-trio format, in the process laying the foundation for much blues-rock and hard rock of the 1960s and 1970s."[where?]
Clapton said that "Buddy Guy was to me what Elvis was for others." In a 1985 article in Musician magazine, he was quoted as saying that "Buddy Guy is by far and without a doubt the best guitar player alive...if you see him in person, the way he plays is beyond anyone. Total freedom of spirit, I guess. He really changed the course of rock and roll blues." In inducting Guy into the Rock and Roll Hall of Fame, Clapton said, "No matter how great the song, or performance, my ear would always find him out. He stood out in the mix, simply by virtue of the originality and vitality of his playing." [12]
Recalls Guy, "Eric Clapton and I are the best of friends and I like the tune "Strange Brew" and we were sitting and having a drink one day and I said 'Man, that "Strange Brew" ... you just cracked me up with that note.' And he said 'You should...cause it's your licks ...' " As soon as Clapton completed his sessions with Derek & the Dominos in October 1970, he co-produced (with Ahmet Ertegn and Tom Dowd) the album Buddy Guy & Junior Wells Play the Blues, with Guy's longtime harp and vocal companion, Junior Wells. The record, released in 1972, is regarded by some critics as among the finest electric blues recordings of the modern era.[]
In recognition of Guy's influence on the career of Jimi Hendrix, the Hendrix family invited him to headline all-star casts at several tribute concerts they organized, "calling on a legend to celebrate a legend." Hendrix himself once said that "Heaven is lying at Buddy Guy's feet while listening to him play guitar."[] Songs such as "Red House", "Voodoo Chile" and "Voodoo Child (Slight Return)" came partly from the sonic world that Guy helped to create. According to the Fender Players' Club, "Almost ten years before Jimi Hendrix would electrify the rock world with his high-voltage voodoo blues, Buddy Guy was shocking juke joint patrons in Baton Rouge with his own brand of high-octane blues. Ironically, when Buddy's playing technique and flamboyant showmanship were later revealed to crossover audiences in the late Sixties, it was erroneously assumed that he was imitating Hendrix." (In 1993, Guy covered "Red House" on Stone Free: A Tribute to Jimi Hendrix.)
Stevie Ray Vaughan once declared that Buddy Guy "plays from a place that I've never heard anyone play." Vaughan continued:
Geez, you can't forget Buddy Guy. He transcended blues and started becoming theater. It was high art, kind of like drama theater when he played, you know. He was playing behind his head long before Hendrix. I once saw him throw the guitar up in the air and catch it in the same chord.-- Jeff Beck
Beck recalled the night he and Vaughan performed with Guy at Buddy Guy's Legends club[13] in Chicago: "That was just the most incredible stuff I ever heard in my life. The three of us all jammed and it was so thrilling. That is as close you can come to the heart of the blues."
According to Jimmy Page, "Buddy Guy is an absolute monster." "There were a number of albums that everybody got tuned into in the early days. There was one in particular called, I think, American Folk Festival Of The Blues, which featured Buddy Guy. He just astounded everybody."[]
Singer-songwriter and guitarist John Mayer, who has performed with Guy on numerous occasions (including Clapton's Crossroads Guitar Festival and on the PBS television program Soundstage) and collaborated with him on Guy's 2005 album Bring 'Em In, has stated on several occasions that Guy was one of his top influences.
Former Rolling Stones bassist Bill Wyman said,
Guitar Legends do not come any better than Buddy Guy. He is feted by his peers and loved by his fans for his ability to make the guitar both talk and cry the blues. Such is Buddy's mastery of the guitar that there is virtually no guitarist that he cannot imitate.
Guy opened for the Rolling Stones on numerous tours, beginning in the early 1970s. Slash said that "Buddy Guy is the perfect combination of R&B and hardcore rock and roll." ZZ Top's Billy Gibbons said, "He ain't no trickster. He may appear surprised by his own instant ability, but clearly, he knows what's up."
He was a judge for the 6th and 8th annual Independent Music Awards to support independent artists.[14]
He appeared as the "King of Swing" and performed in an episode of the popular children's show Jack's Big Music Show.
He is mentioned by name in the song "Saint Chicago" by Chicago musician Little Lord Robert.
Guy has influenced the styles of subsequent artists such as Reggie Sears[15] and Jesse Marchant of JBM.[16]
On February 21, 2012, Guy performed in concert at the White House for President Barack Obama and First Lady Michelle Obama. During the finale of the concert, he persuaded the President to sing a few bars of "Sweet Home Chicago".[17]
On September 20, 1996, Guy was inducted into Guitar Center's Hollywood Rockwalk.[18]
Guy has won seven[19]Grammy Awards, for his work on electric and acoustic guitars and for contemporary and traditional forms of blues music.
In 2003, he was presented with the National Medal of Arts, awarded by the President of the United States to those who have made extraordinary contributions to the creation, growth and support of the arts in the United States.[20]
By 2004, Guy had also earned 23 W.C. Handy Awards, Billboard magazine's Century Award (he was its second recipient) for distinguished artistic achievement, and the title of Greatest Living Electric Blues Guitarist.
Guy was inducted into the Rock and Roll Hall of Fame on March 14, 2005, by Eric Clapton and B.B. King. Clapton recalled seeing Guy perform in London's Marquee Club in 1965, impressing him with his technique, his looks and his charismatic showmanship. He remembered seeing Guy pick the guitar with his teeth and play it over his head--two tricks that later influenced Jimi Hendrix.[] Guy's acceptance speech was concise: "If you don't think you have the blues, just keep living." He had previously served on the nominating committee of the Rock and Roll Hall of Fame.
In 2008, Guy was inducted into the Louisiana Music Hall of Fame, performing at the Texas Club in Baton Rouge to commemorate the occasion.
In October 2009, he performed "Let Me Love You Baby" with Jeff Beck at the 25th anniversary concert at the Rock & Roll Hall of Fame.[21]
On November 15, 2010, he performed a live set for Guitar Center Sessions on DirecTV. The episode also included an interview with Guy by program host Nic Harcourt.[22]
On December 2, 2012, Guy was awarded the 2012 Kennedy Center Honors.[23] At his induction, Kennedy Center chairman David Rubenstein said, "Buddy Guy is a titan of the blues and has been a tremendous influence on virtually everyone who has picked up an electric guitar in the last half century".[24] He was honored that night along with Dustin Hoffman, Led Zeppelin (John Paul Jones, Jimmy Page and Robert Plant), David Letterman and Natalia Makarova.[25]
On January 28, 2014, Guy was inducted into Musicians Hall of Fame and Museum.[26]
Born to Play Guitar won a Grammy Award in 2016 for Best Blues Album.[27][28] Also in 2016, Guy toured the US east coast as the opening act for Jeff Beck.[29]
Buddy Guy was born as George Guy to Sam and Isabel Guy in Lettsworth, Louisiana. He was one of five children born to the couple.[30] His brother Phil Guy was also a blues musician.
He married Joan Guy in 1959. They have six children together; Charlotte (1961), Carlise (1963), Cauline (1965), George, Gregory, and Jeffrey.[31] Greg Guy also plays blues guitar.[32]
He was married to Jennifer Guy from 1975 to 2002.[31][33] They have two children together; Rashawnna and Michael.[31] The marriage ended in divorce.[34] Rashawnna Guy, better known by her stage name Shawnna is a rapper.

subset: commoncrawl


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Scope and Contents of the Collection
Series 1: History of the Mustang Band, 1935-1991
Series 2: Documents, 1915-1994
Series 3: Pigskin Revue, 1933-1994
Series 4: V. Cyrus Barcus, Director, 1924-31, 1932-33
Series 6: Audiovisual Materials, circa 1924-1983
Southern Methodist University Mustang Band collection
A Guide to the Collection
Historical Note
During the 1915-1916 academic year, H.B. Criswell, a well-known local musician and composer, directed SMU's Philharmonic Orchestra and Band. Approximately fifty "special students," meaning local youths not enrolled at SMU, were in the band by mid-September 1915, and the Dallas Morning News expressed hope that "regular students" would soon join. The band, an orchestra, and a choral group together formed the philharmonic society under Criswell.
By the fall of 1916, however, Criswell had left and the band boasted just eight members. Its first performance was at the SMU vs. Dallas University football game at Gardner Field (on the grounds of Fair Park). The yearbook for the 1916-1917 school year lists eleven members (three women and eight men) of a "Student Volunteer Band." In 1917, Smith McCorkle, who directed the school's orchestra, reorganized the band, raising its membership to seventeen. The next year, Paul Van Katwijk transformed the band into the Students Army Training Corps Band. The SATC Band disbanded after a short time. SMU went without a band until 1920, when "Sam Gobbett led the aggregation under Harold Hart Todd's aegis." By 1922, the band boasted forty members, half of whom were local high school students.
In 1923, a photograph of the band appeared in the Rotunda for the first time. Twenty band members are pictured therein. In 1924, when V. Cyrus Barcus succeeded Roy Ford as the band director, the band again had forty members. The student newspaper later referred to his directorship as a "regime-revolution." Barcus introduced jazz, or "swing," music to the band and dramatically increased the amount of touring the band did. By the 1931-32 school year, the band had grown to 51 members. Bob Goodrich, who took over from Barcus in 1933, implemented two innovations: the 'band sweetheart,' and the 'Pigskin Revue,' a musical variety show. Chosen for her "pretty face and form," Dorothy Lee Taylor was the first 'sweetheart.' She marched with the drum major during game halftimes and accompanied the band on trips. This tradition only lasted through 1936. The "Pigskin Revue," however, became a permanent fixture, a highlight of SMU's Homecoming Week.
In 1936, the band moved away from playing the jazz music for which it had become nationally known. The yearbook for the 1936-37 school year observed, "Forced through University intervention to return to the orthodox activity of college bands, the Mustang aggregation found itself without its master showmen as the year began. Reorganizing under the direction of P. C. Conn, a noble effort was made to equal the fame attained by last years' swingsters, who were classed by Grantland Rice as the 'nation's best.' The annual 'Pigskin Revue' was successfully staged and, as spring approaches, will be taken on tour throughout the State. Lacking only the professional smoothness exhibited last year, the band is still the 'pride of the Mustangs.'" This departure from jazz music was short-lived, however, and the "Mustang Swingsters" were back in business during the 1938-39 school year.
Frank Malone became the band director in 1937. Unlike the directors of the 1920s, who recruited high school students to join the band, Malone found himself tasked with tryouts and a process of elimination in order to trim the number of would-be band members down to 65 each year. The student newspaper claimed in 1939 that the Mustang Band was then "rated the top college swing band of the nation." In 1942, Frank Malone left, taking sixteen men from the band with him to form an "Air Force Band." Until his return in 1946, a series of "acting directors" led the Mustang Band. Unimpressed and uninspired by these temporary band leaders, members of the band petitioned the university for a "new and more capable" band director.
During World War II, women joined the band in significant numbers for the first time. Mary Jo Strother had been a member of the band during the 1923-24 and 1924-25 school years, and Anita King was in the band during the 1939-40 school year, but not until Virginia Lee Malone, a flute player, joined in 1941 did women begin maintaining a continuous presence in the band. Also during the war, the band was placed within the School of Music. From September 1948 to July 1958, Oakley Pittman directed the band. Though the band continued to perform at pep rallies and football games, Pittman made it more of a concert band. Indeed, during the last five years of Pittman's tenure, the yearbooks identified the band as the "SMU Concert Band." In 1956, however, the band was split into two divisions: a marching band, and a concert band. Pittmann directed both. That same year, the band moved its practices from McFarlin Auditorium to a new rehearsal hall in the basement of Perkins Gymnasium.
On July 1, 1958, Irving Dreibrodt replaced Oakley Pittman as the director of the Mustang Band, which then became independent from the School of Music. Pittman, however, remained the director of the Music School's concert band. Under Dreibrodt, the band returned once again to the jazz music of the Barcus era. At the time of Dreibrodt's hiring, Sterling F. Wheeler, SMU's Vice President in Charge of Development and Public Relations, informed Dreibrodt that the school was adopting a males-only policy for the Mustang Band. Nevertheless, eleven women participated in the band during the 1958-59 school year. By the fall of 1959, the new policy was in place. The 1960 yearbook noted, "Any boy enrolled in the university may participate in the activities of the band."
A few months after the June 1972 passage of Title IX, an amendment to the Higher Education Act of 1965 which prohibited sexual discrimination in any educational institution receiving federal funds, Dreibrodt announced that women would be allowed to join the band beginning in the fall of 1973. However, as of February 1977, no women had joined. The Women's Interest Coalition and the Commission on the Status of Women at SMU sought to remedy the situation. This they achieved later that year when freshman saxophone player Rebecca Knight marched with the Mustang Band.
In 1983, following Dreibrodt's September 1st retirement, Bob Brandenberger became the band's director. When Brandenberger left in 1994, Claude White took over the directorship for a year. He was followed by David T. Kehler, who remained until 2005, when Don Hopkins became the band director
"Music Lovers to Hear Artists Soon," SMU Times, September 18, 1915
Musical Society Planned for S.M.U.," Dallas Morning News, September 12, 1915
"University Concert Opens Musical Season," Dallas Morning News, September 15, 1915
"Second Rehearsal is Held," Dallas Morning News, October 12, 1915
"Austin Man is Named Mustang Band Director," Dallas Morning News, September 15, 1924
Jess Hassell, "Fame of Band Spread from Coast to Coast," Semi-Weekly Campus, November 3, 1939
"Band Leader Named at SMU," Dallas Morning News, August 31, 1948
"Mustang Band in New Hall," Dallas Morning News, October 29, 1956
"2d Band Director Named in SMU's Expanded Program," Dallas Morning News, March 8, 1958
"Mustang Band to Go Coed in the fall of 1973," Dallas Morning News, September 28, 1972
Maria Newman, "The girls not in the band," Daily Campus, February 18, 1977
Kathleen Hast, "All-male band gets a female sax," Dallas Morning News, September 10, 1977
Return to the Table of Contents
Scope and Contents of the Collection
Materials in the collection span the period from 1915 to 1994. These materials include a handwritten history of the band, letters, fliers, event programs, posters, band bulletins, newspaper clippings, news releases, brochures, Pigskin Revue programs and tickets, a scrapbook devoted to V. Cyrus Barcus, videocassettes, record albums, a compact disc, band member clothing (bowties, sashes, a beanie cap, a sweater, and a vest), and other memorabilia (including megaphones, a cow bell, a homecoming pin, and a blanket).
Return to the Table of Contents
Return to the Table of Contents
Access to Collection:
Collection is open for research use.
Publication Rights:
Permission to publish materials must be obtained from the Director of the DeGolyer Library.
Copyright Statement:
It is the responsibility of the user to obtain copyright authorization.
Return to the Table of Contents
Return to the Table of Contents
Administrative Information
Preferred Citation
Southern Methodist University Mustang Band collection, Southern Methodist University Archives, DeGolyer Library, Southern Methodist University
Acquisition Information
Donation, Eddie J. Wagoner, October 2010.
Cy Barcus materials, Donation, Bette Barcus Carpenter, April 2013.
Custodial History
The items in this collection came from a variety of sources. Most of the Pigskin Revue programs were transferred from the Student Activities collection. Former band member Eddie Wagoner (SMU class of 1969) donated a box of clothing and mementos in 2010. And in 2013, Bette Barcus Carpenter, daughter of Cyrus Barcus, donated a scrapbook containing information about Barcus and his years leading the Mustang Band. These materials have been combined with other legacy materials to create this collection.
Processed by
Dale Topham, May 2013.
Finding aid written by
Dale Topham, 2013-2014.
Encoded by
Ada Negraru, 2014.
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Detailed Description of the Collection
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Saisei Networks will be showcasing a software-only product at Interop Vegas that enables network operators to gain fine grain application layer control and visibility into their networks. The software development company reports that its product runs on commercial off-the-shelf hardware but achieves carrier-class performance and supports multiple 10 gigabit line-rate interfaces.
Saisei Networks has been developing a high performance, application-aware traffic manager and has been happily watching industry movements towards NFV and SDN architectures in the meantime. "Before you can have SDN or NFV network functions in the data plane, you need to choose a network function that can be carrier class in a x86 architecture", said Bill Beckett, Founder and CEO of Saisei Networks. "That's what we've done at Saisei by using our extensive knowledge and experience in IP traffic management to deliver a carrier-grade, line-rate solution that is hardware independent. From there we have added NFV and SDN controls."
"Besides riding the performance curves Moore's Law has delivered us in x86 advancements, we've architected and patented several technologies that truly give us scale and performance that previously was unimaginable in commercial off the shelf hardware", said John Harper, co-Founder and Chief Technology Officer of Saisei Networks. "This architecture is also more agile for adding features without being tied to specific proprietary hardware limitations."
About Saisei Networks, Inc.
Saisei Networks develops and distributes software based virtual appliances to network operators of any size, from dozens of users to millions of users. The Saisei Networks virtual appliances gives operators control and visibility of the use of their network resources to ensure the highest availability and quality of WAN and cloud network resources.
About Interop
Interop drives the adoption of technology, providing knowledge and insight to help IT and corporate decision-makers achieve business success. Part of UBM Tech's family of global brands, Interop is the leading business technology event series. Through in-depth educational programs, workshops, real-world demonstrations and live technology implementations in its unique InteropNet program, Interop provides the forum for the most powerful innovations and solutions the industry has to offer. Interop Las Vegas is the flagship event held each spring, with Interop New York held each fall, with annual international events in Mumbai and Tokyo, all produced by UBM Tech and partners. For more information about these events visit http://www.interop.com.
– Via TechShowNetwork.com [Inbox MM] [PRWEB]


text:
-Ray Kohler
(480) 926-1922
Call Attic Tune-Up today to find out how you can lower your summer cooling bill, reduce demand on your air conditioner and make all the areas of your home more useable!
Attic Tune-Up
Professional Attic and Garage Cooling Experts
(480) 926-1922
My name is Ray Kohler and my company, Attic Tune Up has been making garages and homes cooler in the Mesa and Phoenix area since 1991. I want to assure you that doing a project with my company will virtually eliminate the myths, frustrations and problems that are all too common in the home cooling industry.
Does This Sound Familiar?
I invite you to learn how I've been keeping homes and garages cooler with our proprietary, custom designed and common sense solution.
If you're interested in an on site evaluation to see if this would work for your home just give me a call.
Thanks for your time and I look forward to answering any questions about keeping your home and garage cooler.
Attic Tune-Up
Professional Attic and Garage Cooling Experts
Copyright © Attic Tune-Up Systems LLC. All rights reserved.


text:
Race Committee @
A group dedicated to managing and assisting those who are excited to present a bike race on Hornby Island.
- Tig
- Jeremy
- Peggy
- Sasha
- Brett
- Dean
- Jody
- Nigel
Trails Character Committee @
This committee looks at the 'character' of our trails (flow, technical, green, blue, black, loops, etc). We will make recommendations to the HIRRA Parks & Trails Committee, that they might add to their plans, as to which trails to work on and how.
- Sasha
- Brett
- Jeremy
- Robb
- Denis
- Jill
- Dean
Bikepark & Pumptrack Committee @
This committee is doing planning and prep work, including grant-writing, to create a fabulous bikepark for everyone.
- Jeremy
- Sasha
- Brett


text:
Hi people,
I have written an application which allows users to open word document when they press the button on the page of my website. When I use Aspnet user account (machine account, auto generated password) the word application opens, but as soon as I have set the impersonate = true with username and password in the web.config file it doesn't work anymore.
Here's my code to open a word application
Code:Dim wordApp As New Word.Application Dim wordDoc As New Word.Document wordDoc = wordApp.Documents.Open(Server.MapPath("folder/Message.doc"))
Please help


text:
This is a variation on the forward lunge. In this exercise the direction of the lunge is slightly forward and to the side.
Begin with feet shoulder width apart. Starting with the right leg and keeping your hips facing forward, step to the side keeping hips to the rear and chest forward. The knee and foot should be pointed forward.
You will feel your weight shift in the direction of the lunge and tension in your thigh muscles as you plant your right foot. Next, push off the lunging leg and return to the starting position. Be sure to lift the leg 4-6 inches off the ground to avoid tripping as you return to the starting position. Repeat with the left leg.
Keep your hips square and don't twist the upper body as you perform this exercise. Remember to keep your knee tracking in line with your foot.
You can modify this exercise by lunging onto a step to minimize the stress on your knee joint. When you lunge onto the step, make sure the step is stable and will not slip as you place your foot on it.


text:
UPDATED: New Webinar Series for Advocates: Using PIAAC Data
(Updated 5/12/15 with webinar slides)
This two-part webinar series, Framing Effective Advocacy Messages: Using PIAAC Data, will strengthen your ability to advocate for adult education using the most recent data on U.S. adults' skills from the Program for the International Assessment of Adult Competencies (PIAAC). Each webinar will combine a focused presentation on the research findings with a segment on effective messaging and a research-to-practice response by a local adult education advocate.
Webinar 1: Literacy, Numeracy, and Problem Solving
Friday, April 10, 2015, 3:00-4:30 pm ET
This webinar will provide a broad look at findings related to adult literacy, numeracy, and the ability to solve problems in technology-rich environments. Presenters:
- Margaret Patterson, Research Allies for Lifelong Learning
- Dan Rafter, Spitfire Strategies
- Roberta Soolman, Literacy Volunteers of Massachusetts
Webinar 2: Health Literacy Through the PIAAC Lens
Monday, May 4, 2015, 3:00-4:15 pm ET
This webinar will focus on the connection between adults' skills and their health and health literacy. Presenters:
- Goodling Institute / Penn State University representative
- Dan Rafter, Spitfire Strategies
- Allison Kokkoros, Carlos Rosario International Public Charter School
NCL_PIAAC-Health-webinar_4May2015 slides
Made possible through the generous support of the Dollar General Literacy Foundation.


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General Information
- Born: Tel-Aviv, Israel.
- Marital Status: Married to Dr. Bathsheba Garsiel, 3 children.
- Home Address: 110 Rothschild Street, Petach-Tiqva 49333, ISRAEL.
- B.A. Bible & Hebrew Literature, Tel-Aviv University, Israel 1965.
- M.A. Bible, Tel-Aviv University 1968.
- Ph.D. Bible, Tel-Aviv University 1974.
- Post-Doctorate Biblical Archaeology, Tel-Aviv University 1974-5.
University Teaching & Administration
- 1968-1973 Instructor, The Dpt. of Bible, Bar-Ilan University, Ramat Gan, Israel.
- 1974-1977 Lecturer, The Dpt. of Bible, Bar-Ilan University.
- 1975-1977 Chairperson of The Dpt. of The Land of Israel Studies, Bar-Ilan.
- 1977-1978 Visiting Professor of Bible & Biblical Archaeology, The Hebrew Theological College, Skokie, IL., USA
- 1978-1980 Senior Lecture (status--tenure), The Dpt. of Bible, Bar-Ilan.
- 1981 Visiting Professor, spring semester, The Hebrew Theological College, Skokie, IL., USA.
- 1981-1984 Chairperson of The Dpt. of Bible, Bar-Ilan.
- 1984 Associate Professor, Bar-Ilan.
- 1985-1986 Visiting Professor of Bible & Biblical Archaeology, The University of Wisconsin--Milwaukee, WI, USA.
- 1987 Bar-Ilan.
- 1989&1991 Visiting Professor of the Graduate Summer School, The Hebrew Theological College, Skokie, IL., USA.
- 1988-1992 Chairperson, The Dpt. of Bible, Bar-Ilan.
- 1992 Full Professor and a Senate member, Bar-Ilan Un.
- 1992-1993 Visiting Professor of Bible and Biblical Archaeology, The Jews' College -- The University of London, UK.
- 1994-1995 Coordinator of The Teaching Committee of Bar-Ilan's Senate.
- 1997 Part time position as a Visiting Professor at the Dep. of Bible, Tel Aviv University, Graduate School.
- 1997-2001 Dean, Faculty of Jewish Studies, Bar-Ilan Un.
- 2002-2003 Bar-Ilan, also part time position as a Visiting Professor at the Dep. of Jewish History, Haifa University Graduate School.
- 2006 – 2011 Professor Emeritus: part time position at Bar-Ilan Un; part time chair of MA program at Academic College of Education, Giveat Washington (Israel)
Field Activity
- 1968-1984 Coordinator of field research team. In these field excursions thousands of slides of biblical sites, archaeological digs, etc., were developed for teaching purposes.
- 1975 (Summer) Participation in the excavation at Tel Apheq.
- 1976 (Winter) Coordinator of the excavation at Izbet-Sarta (biblical Even-ezer.)
- 1976 (Summer) Coordinator of Izbet-Sarta excavation.In this season the earliest Hebrew inscription (preceding the Gezer tablet) has been discovered.
- 1977 (Summer) Coordinator of Izbet-Sarta excavation.
Academic Activity
- 1992-2003 Member of Beith Miqra board of editors. Member of Biqoreth U-Parshanuth (Criticism and Interpretation) board of editors
Public Lecturing Programs
Intensive activity in adult education programs: many long series of lectures on the Bible and Biblical Archaeology (accompanied with slides) were delivered in many places in Israel, Chicago & Milwaukee (USA) and London (UK).
Academic Fields of Interest
- Historiography of the Bible.
- Geographical and archaeological aspects of the Bible.
- A literary interpretation of the Bible.
- Biblical names and their literary meaning.
- Ugaritic writings and the Bible.
Doctorate Thesis
Parallels Between the Book of Jeremiah and the Book of Psalms, Tel-Aviv University 1973.
- The Kingdom of David: Studies in History and Inquiries in Historiography, Tel-Aviv 1975 (Hebrew).
- The Rise of the Monarchy in Israel: Studies in the Book of Samuel--A second edition of a written course for The Open University, 4 vols., Raananah, Israel 2008 (Hebrew).
- The First Book of Samuel: A Literary Study of Comparative Structures, Analogies and Parallels, Ramat Gan 1983 (Hebrew); 1985 (English translation); 1990 (A second printing by Rubin Mass, Jerusalem.)
- S. Abramski & M. Garsiel, The Book of 1 Samuel: Encyclopedia the World of the Bible, Ramat Gan 1985 (Hebrew).
- Midrashic Name Derivations in the Bible, Ramat Gan 1987 (Hebrew).
- S. Abramski & M. Garsiel, The Book of 2 Samuel: Encyclopedia the World of the Bible, Ramat Gan 1989 (Hebrew).
- Biblical Names: A Literary Study of Midrashic Derivations and Puns, Ramat Gan: Bar-Ilan University Press 1991, 296 p.
- B. Oded & M. Garsiel, The First Book of Kings: Encyclopedia of the World of the Bible, Tel Aviv 1994 (Hebrew).
- G. Galil, M. Garsiel & M. Kochman, The First Book of Chronicles, The World of the Bible, Tel Aviv 1995 (Hebrew).
- M. Garsiel et al, Psalms, vol. 2, The World of the Bible, Tel Aviv 1995 (Hebrew).
- M. Garsiel et al (eds.), Studies in Bible And Exegesis, vol. III, Moshe Goshen-Gottstein--in Memoriam, Ramat Gan, Bar-Ilan University Press 1993.
- M. Garsiel et al (eds.), Studies in Bible and Exegesis, vol. V, Presented to Uriel Simon, Ramat Gan, Bar-Ilan University Press 2000.
- M. Garsiel et al (eds.), Studies in Bible and Exegesis, vol. X, Presented to Shmuel Vargon, Ramat Gan, Bar-Ilan University Press, 2011.
- M. Gruber, M.Garsiel, A. Brener, B. Levine, M. Mor (eds.), Teshurah Le-Zafrirah: Studies in the Bible, the History of Israel and the Ancient Near East, Presented to Zafrirah Ben Barak, Ben-Gurion University in the Negev Press, Beer-sheba 2012.
- M. Garsiel, From Earth to Heaven: A Literary Study of Elijah Stories in the Book of Kings, Bethesda, Maryland, CDL Press (forthcoming).
- ''The Heroes of King David,'' in Braslavi Jub. Vol., The Society for Bible Research, Jerusalem 1970, pp. 149-159 (Hebrew).
- ''The Story of Ehud Son of Gerah,'' Hagut Ba-Mikra, 2, Tel-Aviv 1976, pp. 57-77 (Hebrew).
- ''The Story of David and Bath-sheba in the Book of Samuel--Its Nature and Purpose,'' Beit-Mikra 49 (1972), pp. 162-182 (Hebrew).
- ''A Review of Recent Interpretations of the Story of David and Bath-sheba: II Samuel 11,'' Immanuel--Bulletin of Religion, Thought and Research in Israel, 2 (1973), pp. 19-20.
- M. Garsiel & I. Finkelstein, ''The Westward Expansion of the House of Joseph in the Light of the Izbet-Sarta Excavations,'' Tel-Aviv, 5 (1978), pp. 192-198.
- ''The Literary Structure, Art of the Storyteller and Development of Plot in the Book of Ruth,'' Hagut Ba-Mikra, 3, Tel-Aviv 1979, pp.66-83 (Hebrew).
- ''The Battle at Michmash (I Samuel 13-14)--A Historical-Literary Analysis,'' in U. Simon & M. Goshen (eds.), Studies in Bible and Exegesis--Arie Toeg in Memoriam, Ramat Gan 1980, pp. 15-50 (Hebrew).
- ''King Solomon's Trip to Gibeon and His Dream,'' in Ben-Yehudah Jub. Vol., The Society for Biblical Research, Tel-Aviv 1981, pp.181-218 (Hebrew).
- ''Disturbances in Married Life in the Stories of S. Agnon,'' Niv Ha-Midrashiah, 1971, pp. 216-232 (Hebrew).
- ''A New Commentary to the Book of Samuel--A Review,'' Immanuel, 16 (1983), pp. 25-31.
- ''Literary Study of Structure and Message in Jacob's Stories,'' Hagut Ba-Mikra, 4 (1983), pp. 63-81 (Hebrew).
- ''Models of Analogy and Sets of Comparison in the Bible,'' in MILET-- The Open University Studies in Jewish History and Culture, II, Tel-Aviv, 1985, pp. 35-48 (Hebrew).
- ''Samuel's Speech Concerning ''The Custom of the King'' (1 Samuel 8),'' in Hagut Ba-Mikra, 5 (1988), pp. 112-136 (Hebrew).
- ''Metaphorical and Metonymical Methods of Description in the Biblical Story,'' Bikoret U-Parshanut (Criticism and Interpretation), 23 (1987), pp. 5-40 (Hebrew).
- ''Wit, Words and a Woman: 1 Samuel 25,'' in Y. T. Radday & A. Brener (eds.), On Humor and the Comic in the Hebrew Bible, JSOT Monograph Series, Sheffield Academic Press 1991, pp. 163-170.
- ''Midrashic Name Derivations in the Book of Samuel,'' in M. Bar-Asher et. al. (eds.), Studies in Bible and Exegesis, 3, In Memorian of M. Goshen-Gotstein, Ramat Gan 1993 (Hebrew), pp. 105-119.
- ''Midrashic Name Derivations in the Elijah's Cycle,'' Gevaryahu Jub. Vol., Jerusalem 1989, pp. 149-155 (Hebrew).
- ''Implicit Puns Upon Names as Subtle Colophons in the Bible,'' Gevaryahu Memorial Book, Jerusalem 1990 (English part), pp. 15-22.
- ''Puns Upon Names as a Literary Device in 1 Kings 1-2,'' Biblica 72 (1991), pp. 379-386.
- ''David's Battles Against the Philistines Near Jerusalem,'' Mechkerei Chag, 4, 1991, pp. 15-23 (Hebrew).
- ''The Story of David and Bath-sheba -- A Different Approach,'' CBQ 55 (1993), pp. 244-262.
- ''Homiletic Name-Derivations as a Literary Device in the Gideon Narrative: Judges vi-viii,'' VT 43 (1993), pp. 302-317.
- ''Shaping and Meaning in the Book of Judges,'' Beit Mikra 38 (1993), pp. 376-380 (Hebrew).
- ''Psalm 60 -- Its Historical Setting, Interpretation, Associations and Meaning,'' Beit Mikra 39 (1994), pp. 193-209 (Hebrew).
- ''Puns Upon Letter Names in the Acrostic Units of the Hebrew Bible,'' Beit Mikra 39 (1994), pp. 313-334 (Hebrew).
- ''The Biblical Origin of the Place Name of the Valley of Theropoeon in Jerusalem, Mentioned by Josephus Flavius,'' Beit Mikra 40 (1995), pp.127-134 (Hebrew).
- ''Torn Between Prophet and Necromancer: Saul's Despair (1 Sam 28,3-15),'' Beit Mikra 41(1), pp. 172-194 (English).
- ''Elements of History and Reality in the Description of the Ela Valley Warfare and the Combat Between David and Goliath (1 Sam 17),'' Beit Mikra 41 (1997), pp. 293-316 (Hebrew).
- ''The Battle of Mizpa (1 Sam 7) -- Between History and Historiography,'' in Y. Hoffman and F. Polak (eds.), A Light for Jacob in Memory of J.S. Licht, Bialik and Tel Aviv Un. Jerusalem 1997, pp. 78-89.(Hebrew).
- ''The Structure and Contents of Chronicles as a Veiled Polemic Against the Samaritans,'' Beit Mikra 41 (1997), pp. 293-314. (Hebrew); English version: ''The Structure and Contents of Chronicles as a Veiled Polemic against the Samaritans,'' in: Joshua Schwartz et al (eds.), Jerusalem and Eretz Israel, Arie Kindler Volume, The Ingeborg Rennert Center for Jerusalem Studies and Eretz Israel Museum, Tel Aviv 2000, pp. 42-60 (the English section).
- ''Wordplays, Puns and Puns Upon Names as a Literary Rhetorical Device in the Book of Samuel,'' Beit Mikra 42 (1998), pp. 1-4 (Hebrew). English version:'' Word Play and Puns as a Rhetorical Device in the Book of Samuel,'' in S. B. Noegel (ed.), Puns and Pundits: Word Play in the Hebrew Bible and Ancient Near Eastern Literature, CDL Press, Bethesda, Maryland 2000, pp. 181-204.
- ''David's Warfare Against the Philistines in the Vicinity of Jerusalem (2 Sam 5,17-25; 1 Chron 14,8-16),'' in: G. Galil and M. Weinfeld (eds.), Studies in Historical Geography and Biblical Historiography: Presented to Zecharia Kallai, Sup. VT, vol. LXXXI, Brill, Leiden 2000, pp. 150-164.
- ''The Portrayal of David's Census in 1 Chr. 21 in Light of the Parallel Account in 2 Sam.24,'' in M. Garsiel et al (eds.), Studies in Bible and Exegesis, vol. V, Presented to Uriel Simon, Bar-Ilan University Press, Raman Gan 2000, pp. 137-160 (Hebrew).
- ''King Saul in Distress: Torn Between Samuel the Prophet and a She Necromancer (1 Sam. 3-25),'' in: R. Kasher, and M. Zippor (eds.), Studies in Bible and Exegesis. Vol VI, Yehuda Komlosh - In Memoriam, Bar-Ilan University Press, Raman Gan 2002, pp. 25-45 (An enlarged and updated Hebrew version of article Num.27 above).
- ''Revealing and Concealing as a Narrative Strategy in Solomon's Judgment: First Kings 3:16-18,'' CBQ 64 (2002), pp. 229-247.
- ''The Water Retrieval Mission of David's Three Warriors and Its Relationship to the Battle of the Valley of Refaim,'' in M. Heltzer & M. Malul (eds.), Teshurot LaAvishur: Studies in the Bible and the Ancient Near East, in Hebrew and Semitic Languages, Archaeological Center Publications, Old Jaffa, Israel 2004, pp. 51-62 (English section).
A different Hebrew version in A. Faust and E. Baruch (eds.), New Studies on Jerusalem 8: Proceedings of Eighth Conference, December 26th 2002, Ingeborg Rennert Center for Jerusalem Studies, Ramat-Gan 2002, pp. 25-38.
- ''Two Harlot Mothers and One Living Infant - Three Riddles in Solomon's Judgment,'' Beit Mikra 2003, pp. 32-53 (Hebrew).
- ''Puns on Names as a Literary Device in the Book of Judges,'' Beit Mikra 53 (2008), pp. 59-83 (Hebrew.)
- ''The Elah Valley's Battle, the Duel of David and Goliath and why Goliath's Head and weapons end up in Jerusalem,'' New Studies on Jerusalem, vol. 14 (2008), pp. 53-87 (Hebrew.)
- ''The Four Sons of Rephaim Who Fell in Combats with David and His Heroes,'' Beit Mikra, 54 (2009), pp. 39-61 (Hebrew.)
- ''The Book of Samuel: Its Compilation Stages, Aims, Structure and Significance as a Historiographical Source,'' Beit Mikra, 54 (2009), pp. 21-69 (Hebrew.)
- ''The Valley of Elah Battle and the Duel of David with Goliath: Between History and Artistic Theological Historiography,'' G. Galil, M. Geller, A. Millard (eds.), Homeland And Exile: Biblical and Ancient Near Eastern Studies in Honour of Bustenay Oded, Supplements to Vetus Testamentum 130, Leiden & Boston, Brill 2009, pp. 391-426.
- "The Book of Samuel: Its Composition, Structure and Significance as a Historiographical Source," JHS, 10 (2010), article 5 (Internet).
- "David's Elite Warriors and their Exploits in the Books of Samuel and Chronicles," JHS, vol. 11 (2011), article 5 (internet).
- ''Ideological Discordance between the Prophets Nathan and Samuel as Reflecting the Divergence between the Book of Samuel's Authors,'' in G. Galil, A. Gilboa, A.M. Maeir & D. Kahn (eds.), The Ancient Near East in the 12th-10th Centuries BCE: Culture and History, AOAT 392, Münster Ugarit Verlag 2012, pp. 175-198.
- "Intertextual Dialectics on the Issue of Reward and Punishment: the Case of Psalms 1, Jeremiah 12 and 17," Beit Mikra 57 (2012), pp, 9-27 [Hebrew; English summary pp. 5*-6*].
- ''The Relationship between David and Michal, Daughter of King Saul,'' in M. Garsiel et al (eds.), Studies in Bible and Exegesis, vol. X, Presented to Shmuel Vargon, Ramat Gan, Bar-Ilan University Press 2011, pp. 117-134 [Hebrew; English summary pp. XI-XII].
- ''Samuel's Public Speeches and his Admonishes to Saul as Reflecting the Anti-Monarchic Positions of the Second Author of the Book Samuel,'' in M. Gruber, M.Garsiel, A. Brener, B. Levine, M. Mor (eds.), Teshurah Le-Zafrirah: Studies in the Bible, the History of Israel and the Ancient Near East, Presented to Zafrirah Ben Barak, Ben-Gurion University in the Negev Press, Beer-sheba 2012, pp. 135-154 [Hebrew; English summary p. *95].
- ''Vicissitudes in the Story of the Struggle Between Adonijah and Solomon Revolving around the Jerusalemite Throne Succession of King David (1 Kings 1-2): Historiography, Poetics and Rhetoric,'' New Studies on Jerusalem 17 (Ramat Gan, Bar-Ilan University: Ingeborg Rennert Center for Jerusalem Stusies, 2011), pp. 107-136 [Hebrew].
- The Battle of Michmash (1 Sam 13-14): History, Historiography, Poetics and Theology Combined" ," in Kathleen Abraham and Joseph Fleishman (eds.), Looking at the Ancient Near East and the Bible through the Same Eyes: Minha LeAhron--A Ttribute to Professor Aaron Skaist, Bethesda, MD: CDL Press 2012, p.p. 25-58.
- ''The Story of David, Nabal and Abigail (1 Sam 25): A Literary Study of Wordplay on Names, Analogies, and Socially Structured Opposites,'' in D. Bodi (ed.), Abigail, David's Wife. Her Beauty and Ruse, Hebrew Bible Monographs, 32; Sheffield: Sheffield Phoenix Press, 2013 (forthcoming).
- "The Succession Rivalry between Adonijah and Solomon (1 Kings 1-2): The Story's Genesis and its Historiographical, Literary and Rhetorical Values," in Chaim Cohen, Claire Gottlieb, M. Gruber et al (eds.), Meir Lubetski Festschrift [forthcoming].


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Eve, The Apple Of My Eye lyrics - Bell X1
Eve, The Apple Of My Eye Song Lyrics
You left it, I sent it
I want it back
You left it, I sent it
I want it back
If I had you here, I'd clip your wings
Snap you up and leave you sprawling on my pin
This plan of mine is oh so very lame
Can't you see the grass is greener where it rains
You left, I died,
I went and you cried
You came, I think
But I never really know
I've served my time
I've watched you climb
The wrong incline
But what do I know
Accept it, Don't let it
Turn the screw
Accept it, And let it
Scream back at you
Now this applies both equally to you and I
The only thing we share
Is the same sky
These empty metaphors
They're all in vain
Like can't you see the grass is greener where it rains
In the garden Snake was a charmin'
And Eve said let's give it a try
Now lead us not into temptation
But no matter how hard I try
When in the garden and
Snake is a charmin'
And Eve says let's give it a try
Eve is the apple of my eye
And I lie behind you
And a cradle you in the palm of me
And I pat your hair down
I think will we sink or swim?
'Cause we could do either on a whim
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Frost & Sullivan 2016 Award Recipient for "Enabling Technology in the Cloud-Enabled Genomics Industry, APAC"
Apart from genetic influences, your microbiome plays a unique role in your health & wellbeing. Wondering what should you include in your diet plan? how it might affect your gut? your potential vulnerabilities to certain diseases?


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Marco Carola's Music On showcase is only a few weeks away with another energy-filled extended warehouse session on February 16th. Danny Tenaglia will join Marco Carola along with DC-10 regular Jesse Calosso to make this the most memorable night.
Presented by Teksupport, who've been on Fire since last year with massive show after show and taking over the techno scene in NY.
You don't often get two heavyweights like this in one room outside of Ibiza or a festival stage.
Marco Carola
Danny Tenaglia
Jesse Calosso
Make sure to lock down those tier 3 tickets and have your dancing shoes ready for a lineup you won't want to miss!


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Editor's Note: This is Part Two of a two-part post. Part One was entitled "Suffering and St Maximilian Kolbe Behind These Stone Walls." Writing from England in a recent posting at the venerable Homiletic and Pastoral Review, Psychologist Brent Withers has an intriguing article entitled, "The Science of Divine Love" (July 18, 2013). It is about the means for our sanctification and it describes how our actions, sacrifices and sufferings "build up the mystical body of Christ." It's a concept at … [Read more...]
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Restaurant Review ~ Bistro Aracosia /5100 MacArthur Blvd ., NW
Published: January 17th, 2018
Capturing a prominent Palisades neighborhood corner location, once held by another eatery, newcomer Bistro Aracosia showcases Afghan cuisine in a strikingly elegant setting. And it seems that both décor and food — as well as a very courteous staff — are making a big splash with its exotic fare. If a recent lunchtime experience is any indication, it is the new go-to place along MacArthur Boulevard.
For newcomers to the setting, management has provided two classy, comfy dining areas with overhead lighting and ample seating in both sections — a good thing, since mealtimes (at least, lunch) gets a bit crowded. Suggestion: make a reservation. The main dining area also offers seating at the bar, and a narrow entry hallway also has squeezed in some seating as well. That says a lot about this newcomer to the scene.
Besides the inviting décor and the welcoming staff, the really big draw is the food. Yes, the metro area does offer several Afghan eateries, but a glance at the listing suggests most are kabob destination that's fine, but for patrons hungering for more elegant eats, Bistro Aracosia takes on that challenge.
Of course, most Westerners probably have not sampled aushak (leek and scallion dumplings) or baadenjaan chalou (a roasted eggplant dish). But the kitchen here can satisfy even the most puzzled patron's appetite with surprisingly tempting fare. Even the basket of warmed pita slices that come first with little jars of differing hot or mild sauces will put everyone at ease.
Consider appetizers: carrot slaw or charbroiled marinated lamb tenderloin are recognizable, but why not step outside of the comfort zone for a start of boulanee (potato and leek turnovers) or pumpkin dumplings or the kadoo turnovers. These come as four pastry triangles — the pastry shells are delicately crunchy — filled with a purée of sweetish roasted butternut squash. If one chooses, they can drizzle over top some of the dipping sauce condiments.
Main course choices are extensive, from salads and sandwiches (including a beef or salmon wrap), to vegetarian dishes, and finally, an array of kabobs and chops. Among these, chicken, lamb, and beef are the prominent choices though broiled chunks of marinated salmon show up. Veal, too, comes in various forms, including a yogurt-based stew with garlic.
But scanning back up the menu takes you to the array of interesting vegetarian fare, and among these baadenjaan karahi is a star: a rich stew of roasted eggplant and spicy tomatoes are spooned over a mound of basmati rice — and not one grain of rice sticks to another. The portion is very large, probably enough for two, but leftovers can head home as well.
Desserts are a must – cakes, rose water ice cream and rice pudding are choices, but the star of the show may well be the cook's version of firni, a creamy-custardy Afghan pudding sparked with cardamom and crushed pistachios. Delish!
Bistro Aracosia / Mon.-Sat., lunch (except Mon.) & dinner; Sun., closed. (202) 363-0400.


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U.S. NEXUS Scholar, Katie Arkema on assignment in Colombia where she is doing work on the environmental services that coastal and marine ecosystems provide.
Fulbright Foreign Scholarship Board Chairman, Tom Healy, and Fulbright Colombia Executive Director, Ann Mason, will welcome officials from the U.S. Department of State, Fulbright scholars and guests to Medellín, Colombia for the Fulbright Regional Network for Applied Research Program (NEXUS) midterm meeting on Sunday, April 21, 2013. Medellín was chosen as the site for this meeting because it is widely regarded as one of the most innovative cities in the world with respect to its economy, urban development and technology.
The Fulbright NEXUS Program is a network of 20 scholars and practitioners from the United States and other Western Hemisphere nations engaged in collaborative thinking, problem-solving and multidisciplinary research on climate change adaptation strategies, all with a public policy focus. Hosted by Fulbright Colombia, the four-day meeting will allow NEXUS scholars to meet with influential stakeholders from a variety of sectors to discuss the challenges associated with climate and environmental problem-solving. NEXUS Distinguished Lead Scholar, Dr. Daniel Kammen of the Renewable and Appropriate Energy Laboratory at the University of California, Berkeley, will lead the group in identifying and developing solutions to the most pressing environmental issues in the region.
In addition to thematic group sessions, panel discussions and individual consultations, NEXUS scholars will share updates on their individual research projects, addressing any challenges they are facing in completing their research, and will receive group input on their projects moving forward. Special guests, Sergio Fajardo, the Governor of Antioquia, Colombia, Carlos Fonseca, the Director of the Colombian Agency for Science, Technology and Innovation (COLCIENCIAS) and Pablo Ortega, Director of RutaN, a smart building that houses the innovation strategy for Medellín, will discuss issues relating to energy, the environment and innovation within the Colombian context.
The midterm meeting will lay the groundwork for scholars to develop a clear plan of action for the final NEXUS meeting in September 2013, to be held in Washington, DC.


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Expert System
An expert system is an reasoning system that is an expert in some expertise domain.
- Context:
- It can be produced by an Expert System Engineering Task.
- It can (typically) make use of a Formal Knowledge Base.
- It can be a Deductive Reasoning System (whose rule-based model captures expert knowledge).
- It can be the area of study for an Expert Systems Field.
- Example(s):
- Counter-Example(s):
- See: Deductive Reasoning, Expert System Shell, Modus Tollens, Forward Chaining, Production Computing System, Inference Computing System.
- (Wikipedia, 2009) ⇒ http://en.wikipedia.org/wiki/Expert_system
- An expert system is software that attempts to reproduce the performance of one or more human experts, most commonly in a specific problem domain, and is a traditional application and/or subfield of artificial intelligence. A wide variety of methods can be used to simulate the performance of the expert however common to most or all are 1) the creation of a so-called "knowledgebase" which uses some knowledge representation formalism to capture the Subject Matter Experts (SME) knowledge and 2) a process of gathering that knowledge from the SME and codifying it according to the formalism, which is called knowledge engineering. Expert systems may or may not have learning components but a third common element is that once the system is developed it is proven by being placed in the same real world problem solving situation as the human SME, typically as an aid to human workers or a supplement to some information system.
- As a premiere application of computing and artificial intelligence, the topic of expert systems has many points of contact with general systems theory, operations research, business process reengineering and various topics in applied mathematics and management science.


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Pentax K-3 Review
Usability - How easy is it to use?
The ergonomics of the Pentax K-3 are great for a relatively compact DSLR. Its narrow body and large 3.2" LCD makes for a cramped but comfortable body which remains quite efficient to use. It has a deep grip with a clear indentation below the front control-wheel which is angled upwards to make it easy to reach. As the index finger comfortably rests on the shutter-release, it can easily move back to the EC or ISO buttons behind it. A protrusion to the right of the thumb on the camera's rear ensures a secure hold. When gripping the camera with the index finger on the shutter-release, the thumb falls right on the AF button. Slightly towards the right is the rear control-dial with a green button is within easy reach just below.
Most remaining buttons are crowded below the rear control dial. There are a large number of buttons to target pros who need quick access to functions under time-pressure. The green button intelligently varies its function depending on the camera mode. In P, M and TAv mode it resets the exposure to the program line by default. In other modes it automatically sets the ISO sensitivity. When used in conjunction with the EC button, it resets the applied EC value, perfect for preparing for the next shot. It resets White-Balance fine tuning from the WB setting screen as well. It resets AF-Fine-Tuning adjustments too when calibrating lenses.
The AF button engages autofocus along or instead of the shutter-release, or it can cancel AF entirely, depending on a custom setting. Further right, near the outer edge of the camera, the AE-L button toggles exposure locking. On the other side of the control-dial, a tiny red button toggles Live-View in stills mode or acts as Video-Record button in Video mode. Below the rear control-dial, a rotating switch selects between stills and videos.
Live-view is somewhat improved from previous Pentax DSLR. It still does not preview exposure correctly most of the time, except in Manual mode, but does preview framing, focus and white-balance. There is a histogram but since it does not always reflect exposure, it serves little purpose. Since the Pentax K-3 is equipped with a 100% coverage optical viewfinder, the only thing live-view does more is preview white-balance. Framing and focus can be seen using the OVF perfectly.
A 4-way controller, with central OK button, serves to activate 4 functions:
- Up: Selects the drive mode. The K-3 offers the longest list of drive modes on any camera, most of them with sub-modes: Single, Continuous (High, Medium, Low), Self-Timer (12s, 2s), Remote (Instant, 3s Delayed, Continuous), AEB (Instant, Self-Timer, Remote), Mirror Lock-Up (Instant, Remote), Multi-Exposure (Single, Continuous, Self-Timer, Remote) and Interval, Interval Composite.
- Right: Chooses Color Styles and image parameters: Saturation, Hue, Key, Contrast, Highlight Contrast, Shadow Contrast, Sharpness (3 scales).
- Down: Sets the Flash mode and Flash-Compensation: On, Redeye, Slow-Sync, Slow-Sync+Redeye, Rear-Sync, Manual (1 - 1/128 power), Wireless (Master, Control). The rear control-dial sets FC but only after pressing the down button again. Luckily, the K-3 remembers an one does not have to press Down twice each time FC needs to be changed. However, to change modes after, you have to press up. This is not needed on the K-5 family and makes this new DSLR less efficient.
- Left: Selects WB, including WB Fine-Tuning by pressing the Info button after. There are 3 memories for Kelvin and 3 more for Custom WB.
Some of those drive modes require explanations. The 2s Self-Timer performs automatic MLU. All Self-timers also automatically disable stabilization which makes perfect sense and something which Pentax has been doing for a long time to help photographers. Great to see Ricoh kept this! Continuous drive modes run at 8.3, 4.5 and 3 FPS, respectively. The corresponding maximum buffer-depth in RAW is 22, 32 and 52. Up to 60 JPEG images can be captured in a single 8.3 FPS burst and over 100 at 4.5 FPS. At 3 FPS, Ricoh claims a limit of 200 but the K-3 managed shooting even longer here.
A Pentax remote can be used with nearly every drive mode. With a 3s delay, it also automatically does MLU and disables stabilization. For direct MLU, a first press lifts the mirror, a second releases the shutter. AEB can be set to take all frames continuously or require one press for each. Which one to use depends on the situation and it is nice to have the choice. One minor usability setback of the K-3 is that the user has to press Down twice after selecting AEB before being able to control the number of frames and exposure increments.
Ricoh rearranged drive modes which is why this menu is so complex. On the K-5 IIs, there is a short list of drive modes while Multi-Exposure and Interval Shooting are part of the Camera menu. By adding those to the menu of drive modes, the K-3 requires a second level to offer some combinations like Multiple-Exposure + Remote. A number of combinations are no longer possible though, for example Multiple-Exposure + MLU.
Two new possibilities for the Interval-Timer were added. One is the Interval Composite which automatically blends every frame captured into a single image according to one of three blending modes. This essentially a timed multiple exposure and is useful for capturing star trails. The other is Interval Movie which simply saves all captured frames into a Time Lapse video. This saves processing time and space, given that results are saved at 4K, 1080p or 720p videos.
By pressing the round button at the lower-right of the 4-way controller, the autofocus point can be moved around. Pressing the round button again goes back to normal.
The K-3 has a large pentaprism viewfinder which provides a bright and clear image with 100% coverage and 0.95X magnification. The optical viewfinder is surrounded by a soft and comfortable rubber frame. To the left of the OVF are the Playback and Metering buttons. This camera is shooting priority, like all current DSLRs. Half-press the shutter and the camera is instantly ready to shoot.
A large 3.2: LCD with 1 megapixel is found just below the viewfinder and Play/Delete buttons. The display has an excellent angle-of-view and visibility due to a very good anti-reflective coating. The display is very close to the left side of the camera which makes it prone to smudges. The K-3 also keeps the gapless LCD introduces with the K-5 IIs and K-5 II which offers improved contrast and visibility compared to previous generations. This LCD is also very slightly recessed in hopes to attract fewer smudges.
The LCD can show a 2-axis Digital-Level, displaying tilt and pitch separately in ½° increments, up to 9½°. There are markers showing the 1° Automatic Horizon Correction limits when stabilization is on. Otherwise, the limit is 2° since one degree is reserved for Shake-Reduction correction.
To see the Digital-Level, one must press the Info button twice and then use the Left or Right buttons to select the Electronic-Level screen, then press OK. Expect to redo this again to turn it off, otherwise glare fro the LCD is bothersome. This is really less efficient than on the K-5 family and truly one of the biggest annoyances of the K-3. Ricoh ought to put an Eye-Start sensor below the OVF.
The small size of the Pentax K-3 and its numerous buttons really contribute to a cramped design. Another minor problem is that the left strap eyelet is forwards of the camera. That makes the neck-strap occasionally interfere with the mode-dial.
The two control-dials are extremely well used, providing direct access to exposure parameters. A great usability feature of this DSLR is that whenever aperture or shutter-speed can be changed using a control-dial it appears underlined in the viewfinder. This provides an indication as to the current exposure mode. It would have been even more helpful if the parameter controlled by the front wheel had a line above it instead of below. In program mode (P), called Hyper-Program, the control-dials are used to enter Aperture-Priority (Av) mode and Shutter-Priority (Tv) mode. An excellent capability of the K-3 is the choice of six program linesAuto, Normal, Speed-priority, Maximize Depth-of-Field, Minimize Depth-of-Field and MTF. In Sensitivity-Priority (Sv) mode, one control-wheel selects the ISO sensitivity, the other shifts exposureChanges between equivalent aperture and shutter-speed combinations.
In Av and Tv modes, one control-dial sets the main exposure parameter and the other can perform Exposure-Compensation or select the ISO sensitivity. When the second control-dial selects the ISO, pressing the green button can automatically set the sensitivity. A great touch is that the Pentax K-3 reports the selected sensitivity in the viewfinder and on the top-mounted LCD panel.
In TAv and M modes, a control-wheel selects the aperture, the other selects the shutter-speed. The difference is that M mode uses a fixed ISO while TAv mode tries to achieve a correct exposure by selecting the ISO. In these modes, the AE-L button, in combination with a control-wheel, shifts the exposure. The green button provides a starting point for manually setting exposure.
The control-wheels are also put to good use during image playback and menu navigation. The rear one zooms in and out, while the front one moves between images without changing the zoom level. This gives an effective way to inspect a detailed area of multiple images. To speed up menu navigation, the two control-wheels can also be used: one to iterate over tabs, the other over pages of a single menu.
ISO is selectable from 100 to 51200. There is an Auto ISO setting with customizable minimum and maximum sensitivity. An additional setting controls how fast the camera increases sensitivity. There is a dedicated button to set ISO which is needed in Manual (M) mode.
There is unfortunately a flash-recommendation warning which cannot be turned off. This warning appears as a flashing lightning icon in the viewfinder when the shutter-speed falls below a certain fixed threshold. Having this flashing icon does get annoying after a while, so we are still hoping Pentax will add an option to disable it via a firmware update. This warning is of little help as using a flash is frequently ineffective.
Focus is set differently than on other Pentax DSLRs because of the larger number of options. Other than the AF button being above rather than inside the AF switch, this is the system as on Nikon DSLRs. The switch chooses between AF and MF, while the button enables control-dials to set focus parameters. The front controls the mode between AF-S, AF-C and AF-A. The rear sets AF-point selection to: Auto 27, Auto 9, Single, Center Assisted 9, Assisted 25 or Assisted 27.
The Pentax K-3 has an unprecedented level of customization available. The Custom-Image menu, activated by the right button of the 4-way controller, shows 11 modes: Bright, Natural, Portrait, Landscape, Vibrant, Radiant, Muted, Bleach Bypass, Reversal Film, Monochrome and B&W. Eight of these modes can be tweaked using five image parameters: Saturation, Hue/Tone, Key, Contrast, and Sharpness. Additionally, there are two advanced settings: Highlight Contrast and Shadow Contrast which can be shown or hidden using the front-control-wheel. There are 9 steps of each parameter except that there are 3 sharpness scales to choose from for sharpness. B&W is has the same choices except it replaces Saturation with Filter Effect. Finally, only Sharpness can be set for Reversal Film.
The good news is that this flexibility provides complete control over the image appearance, taking over functions which used to done by RAW-conversion software. What is left is the daunting task of optimally setting all these options. The effect of a single-step change is very subtle and nearly impossible to discern on the LCD. One is therefore most likely to prepare a few sets of parameters and keep using them for most situations.
Each time the mode-dial is turned, the K-3 displays the function of both control-dials and customizable buttons. Pressing the Info button invokes an interactive status screen with the following settings: Automatic ISO range, Highlight Correction, Shadow Correction, Digital Filter, HDR, AF Assist, High-ISO Noise-Reduction, Slow-Shutter Noise-Reduction, Distortion Correction, Lateral Chromatic Aberration Correction, Vignetting Correction, Focus-Drive, Focus-Area, Memory Options, Format, Quality, Shake-Reduction and Anti-Alias Filter Simulator. Direction buttons select which setting to change and a control-dial changes it.
Since it's quite common to leave a setting such as white-balance or exposure-compensation incorrectly set and thus ruin a large number of images, Pentax DSLRs, including the K-3, allow to specify which settings are reset on power-offFlash mode, drive mode, white-balance, custom image, sensitivity, exposure-compensation, flash-compensation, digital filter, HDR, composition-adjust and playback info.. This shows that Pentax thinks about common mistakes. It would have been even better if users could specify the reset value for each setting as well. This simple change is possible via firmware.
Like all DSLR cameras to date, this one has a metal tripod mount, in-line with the center of the lens. This is the ideal location for panorama shots. Given that total weight can easily be dominated by the lens, also excellent for balance. The bottom of the camera has a door for the battery compartment. This door has a folding latch to keep a tight seal against splashing. Using gloves, it is hard to open but that is a small price to pay for a class-leading weatherproof body. There is an additional rubber flap to protect the battery-grip connector as well. The optional battery-grip can use a second Lithium-Ion battery or 6 AAs for increased versatility.
The Pentax K-3 offers dual SDXC memory-card slots. See the pink box in the right column of the K-3 vs K-5 IIs page for details. Memory cards are inserted behind a sturdy plastic door with rubber-seals for weatherproofing. Just below the card-door is a rubber flap for an optional wired remote. The K-3 also supports wireless remotes with receptors in the front and back for added flexibility. The former is normally used for self-portraits, the latter to minimize shake during long exposures. The other side of the camera has a large rubber-flap which covers the Mini-HDMI, USB 3.0 and DC connectors. Just above that is yet-another rubber-flap, this time to cover the mini-jack for stereo input. This can be used in conjunction with a hot-shoe mounted microphone or a wireless one.
This DSLR supports two folder and two numbering systems. Folders are always sequentially numbered except they can be generic or named for each used combination of month and day. File numbers are either completely sequential or restart for each folder. There is no longer an option to have numbers reset on card changes which means that more clashes are possible now unless you go completely sequential. The K-3 also creates folders for a variety of reasons, including batch RAW conversion, so beware when copying files not to overwrite previous ones.
Pentax K-3 Highlights
Sensor-Size: 24 x 16mm
Actual size when viewed at 100 DPI
|24 Megapixels DSLR
|Pentax K Mount
|Shutter 1/8000-30s
|3-Axis Built-in Stabilization, 3.5-Stop Improvement
|Full manual controls, including Manual Focus
|100% Coverage
Large Viewfinder
|Custom white-balance with 2 axis fine-tuning
|Auto Horizon Correction
2 Axis Digital Level
|Weatherproof down to -10C
|Hot-Shoe & Sync-Port
|Built-in Dust Reduction
|Stereo audio input
|8.3 FPS Drive, 60 Images
|Lithium-Ion Battery
|1920x1080 @ 30 FPS Video Recording
|Secure Digital Extended Capacity x 2
|3.2" LCD 1 Megapixels
2020 Digital Photography Computer Building Guide
Everything to know about building a Digital Photography Computer in 2020.
Fujifilm X-T4 Review
Fujifilm APS-C flasghip mirrorless with 5-axis builtin stabilization mechanism using the same high-speed 26 MP X-Trans CMOS 4 sensor as the X-T3. New 15 FPS mechanical shutter and builtin HDR. Professional mirrorless with mechanical controls, dual control-dials, dual memory-card lots, a built EVF with Eye-Start Sensor and a huge feature set.
Canon RF-Lens Info
Info on all Canon native RF-mount lenses added to the Canon EOS R5 preview.
Canon EOS R5 Preview
Preview of the Canon EOS R5 flagship Full-Frame Mirrorless with 45 MP sensor on a 5-axis stabilization system effective to 8-stops. First 8K video capable digital camera. 20 FPS electronic and 12 FPS mechanical drive.
Olympus OM-D E-M5 Mark III Review
Third-Generation OM-D that packs a 20 MP Four-Thirds CMOS on a 5-Axis Stabilization System. Fast 121-Point Phase-Detect AF, 30 FPS Continuous Drive, Cinema 4K Video and more in a weatherproof and freezeproof body. Features dual control-dials and a builtin 2.4 MP EVF with Eye-Start Sensor with 0.69X magnification and 100% coverage.
Olympus OM-D E-M1 Mark III Review
20 MP Micro Four-Thirds Mirrorless with 7-Stop 5-Axis Image-Stabilization, 121-Point Phase-Detect AF 30 FPS Continuous Drive and Cinema 4K capability in a weatherproof and freezeproof body with dual control-dials and dual SDXC memory card slots.
M.Zuiko 12-45mm F/4 PRO Review
A review of the M.Zuiko 12-45mm F/4 PRO added to the Olympus Premium Lens Roundup.
Peak Design Travel Tripod Review
Review of the unique Peak Design Travel Tripod with its own ballhead and the universal ballhead adapter.
Nikon Z-Mount DX Lens Roundup
Review of Nikon Z-Mount lenses for APS-C mirrorless digital cameras. Covers all current Z-mount DX lenses available.
Nikon Z50 Review
The first Nikon APS-C mirrorless is built around a 20 MP BSI-CMOS sensor with ISO 100-204800, 209-Point Phase-Detect AF, 11 FPS Drive and 4K Video capability. Compact body with dual control-dials and 2.4 MP 0.39" EVF with 0.68X magnification, 100% coverage and an Eye-Start Sensor.


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Display computer
Maximatecc (Sweden) has presented the CCpilot VA 7-inch display computer. Based on the Linux system, users can choose to develop applications in C/C++ or utilize the company's Linx Software Suite.
TO OFFER OEMS AND SYSTEM DEVELOPERS A PLATFORM, the company introduced their first product in the Vision display line in 2012 – the 3,5-inch CCpilot VI. Next was the introduction of CCpilot VC in 2014 – a 5-inch widescreen display with 800 pixel x 480 pixel resolution. At the Intermat 2015 in France, the company launched the CCpilot VA – a 7-inch widescreen display with the same resolution, same ARM Cortex A8 core, and same software tools as its sibling VC. The display offers hardware acceleration for 2D, 3D, and vector graphics.
Based on the Linux system, users can choose to develop applications in C/C++ or utilize the Linx Software Suite of the company. The suite is an open software application platform where applications are developed in Qt and/or Codesys. The software suite features a range of ready-made software components. An example is the e-manual component. It lets users import manual texts and pictures and it provides support for search and navigation in the manual. QML (QT Meta Language) is another feature of the software suite. The descriptive coding language lets users handle advanced graphical features like transparency, shading, animations etc. with only a few lines of code – in C-coding such features are more time-consuming.
CCpilot VA comes with two CAN, two USB, Ethernet, and EIA-232 interfaces as well as analog video input. It also features eight configurable inputs for digital and analog sensors as well as two configurable outputs. The product offers ten soft keys and a PCAP touch screen for interaction with the vehicle system.
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Rob Holly - How To Buy A Car. The Human Element.
V3N3c - Guest
Rob Holly's sales experience spans twenty years in the automotive industry. He was the general manager at a BC jeep dealership where he helped achieve and maintain a number one standing amongst all jeep dealers in Canada . Rob also helped another Chrysler dealer outperform and maintain some of the highest CSI ratings in the country set by the manufacturer.
Rob's success in sales is primarily due to product knowledge, ethical business practice, dedication to his career and a great sense of humour. Rob has a great reputation in the automotive industry and a very positive repore with his colleagues and associates.
Rob is currently self-employed. He buys and sells virtually every make and model of car on the market and is an expert in the assessment and appraisal of any vehicle's value. On a personal level Rob is also committed to a lifestyle of fitness, good nutrition and healthy living.
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McCormick Tartan Dog Sweater
SMW Home's knitted dog sweater keeps your pup warm, snug and festively attired. Soft, easy-care fabric in a customer-favorite plaid. Measure length from base of neck to base of tail.
- size small for dogs 8-10 lbs. and 13 inches long
- size medium for dogs 12-20 lbs. and 17 inches long
- size large for dogs 25-30 lbs. and 21 inches long
- size extra for dogs 35-40 lbs. and 25 inches long
- Knit from acrylic
- Machine washable
- Imported


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Last week, I attended Business Solutions Magazine's ChannelTransitions event here in Boston and had the opportunity to hear from a number of great speakers who shared their thoughts on the IT industry and how the channel can take advantage. One of those speakers was Mike Monocello, Editor in Chief of Business Solutions Magazine. He spoke about the "As-a-Service" business model, its benefits and how to make it work as an MSP, VAR or IT Solutions Provider.
So what did I decide to do? Naturally, I came up with a cheesy pun and wrote a blog post about it.
Here are some reasons why you should be thinking about the As-a-Service business model and how to make it Kick-aaS for your business.
What is the As-a-Service Business Model and How Will It Help Me?
I figured I'd give a quick definition of the As-a-Service business model before getting into its benefits. Bill Ruffalo actually wrote about this on our blog a few months ago, discussing Why IT Services Must Follow the Software Model, definitely read this if you get the chance.
Ultimately, this model means selling your services on a subscription basis where they pay you a structured amount monthly, rather than a lump sum in one-time deals. You can still push hardware, although hardware margins are diminishing, but make sure to attach services to these deals that result in increased monthly recurring revenue (MRR).
Why is it so important to sell MRR? There are a number of clear business benefits, including:
- Predictable revenues – When you can accurately predict your costs and your revenues, it's much easier to grow your business because you can plan for that growth. When your revenues fluctuate, it's nearly impossible to build a growth plan.
- Proactive vs. Reactive – selling monthly services allows you to become proactive with your clients' systems, and not reactive to issues that arise. This way, you help contribute to their business success. You're not just a repairman.
- Increased Business Valuation – predictable revenue streams are crucial if you want to become an acquisition target or receive an investment. You need to prove that you can consistently make money, and that if you invest more on one end of the funnel, you churn out more profit at the other end. Businesses with monthly recurring revenues receive higher valuations and are much more likely to be acquired than those that vary in their revenues.
How to adopt the As-a-Service Business Model
So, you're ready to kick-aaS with the As-a-Service business model. What are some tips for getting started?
1. Take it One Step at a Time
Make sure you ease into this model, rather than jumping right in. Making a change to your business takes time; it's not a flip you can just switch overnight.
Allow your business, your employees and your clients to grow into this new model and learn as you go. There will be a number of unforeseen issues that arise that will need figuring out. Take that opportunity to learn and adjust what you're doing
Rome wasn't built in a day.
2. Equip Yourself With the Right Tools
Adopting this business model starts with the right tools. If your tools don't allow you to pay monthly, then your costs won't be monthly, and if your costs aren't monthly, you can't start charging monthly for your services.
Leverage tools that allow you to pay monthly, and only pay for what you use. This will make it much easier to scale your business and increase your MRR.
It's also important to use tools that allow you to be proactive, instead of reactive. Obviously, that includes using a remote monitoring and management (RMM) tool, but be sure that that tool is helping your business, not hurting it.
If your technicians are spending too much time managing your RMM software, instead of managing clients, those are direct costs that aren't helping contribute to your revenue.
Choosing the right tools that fits the As-a-Service business model is an important component of this adoption.
3. Focus on Time Efficiency and Tech Utilization
Again, it's very difficult to sell MRR when your costs aren't predictable. Your largest expense is most likely your employees' salaries. If you/they are wasting their time, that's money you're simply flushing away.
Make sure that the activities they're doing are focused on your clients and focused on driving revenue for you.
If they are spending too much time managing your RMM software, closing out duplicate tickets, answering mundane support calls etc., that's not making you money!
Understanding your technicians' activities and time efficiency is a key component of adopting the As-a-Service business model.
4. Focus on Business Value, Not Technology [External]
This is an area where a lot of MSPs fall short – they get too caught up in the technology and don't focus on the business value when talking to prospects.
Your clients don't usually care how it works, they care about what it does for their business.
Don't talk about how your RMM software helps you with ticket remediation. Tell them how you can keep their network up and running so that they're not losing money from downtime. If they're concerned about HIPAA compliance, tell them how mobile device management (MDM) helps them stay HIPAA compliant, not how you install agents on employee devices.
Ultimately, your clients and prospects hire you because they want you to take care of their technology solutions, they don't want a technology lesson.
Speak to them in business terms as it will prove the value of your services and help you close more deals.
5. Be a Business Owner, Not a Technician [Internal]
Number 4 and number 5 sound very similar, so I made the distinction between internal and external.
Externally, it's important to speak to clients and prospects in business value. Internally, it's important to be a business owner, not a technician.
Many MSP business owners get too caught up in the client's technical issues, which takes away from their time as a business owner.
As the business owner, your job is to drive growth, increase profitability, set goals for your employees and help execute on your business's mission.
Most MSP owners got into the business because they are skilled technicians.
However, in order to take your business to the next level, you need to become a business owner, not remain a technician. This is an important step for any MSP, and important in the As-a-Service business model.
The benefits of the As-a-Service model are clear. If you're not currently leveraging this business model, now is the time to begin taking action. The tips above should serve as a rough guideline for getting started in transforming your business. As technologies evolve, so too must your business strategies.
Don't wait to start "kicking some aaS" in managed IT services!
3 Key Factors That Impact MSP Growth Margins
By Lily Teplow
How to Write an MSP Business Plan
By Lily Teplow
11 New Year's Resolutions All MSPs Need to Stick To
By Scott Wittstock


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The Clothes Can Be Misleading…
Before lululemon invaded Boston several years ago, giving tightly-wound Marlborough Street mommies a slightly "fashionable" excuse to wear yoga pants all day, they were extending the same service to Canadians in the early part of the 2000s. As a lazy college student in Montreal with a deep-seated appreciation for any article of stretchy clothing that can be "dressed up" to wear out in public, I looked to lululemon as the go-to destination for all of my sartorial needs. Despite the fact that I hadn't stepped foot into a yoga studio, I sure did look the part—groove pants, scuba hoodie and gym bag as a school bag, all the way down to my hair elastics and underwear. I was a lululemon addict—minus the actual yoga part.
Some may have accused me of trying to "look the part" of a yoga enthusiast or even trying to aspire to be one, but in reality, I wasn't trying to fool anyone into thinking I was remotely athletic. On the contrary. Rather, I just liked stretchy pants and felt that if I paid $100 for them, I had every right in the world to wear them to class, to the grocery store, to meetings—basically anywhere other than a gym or yoga studio.
Though my wardrobe has seen the last of its lululemon-as-Monday-through-Friday wear, I still browse the Pru store looking for glorified workout clothes that can be worn as normal clothing. Call it the downfall of our culture's sense of appropriate dressing, but hey, at least I'm not rocking pajama jeans.
Posted by Amelia


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Got a new business idea that needs branding?
|Name Concept:
|A conceptual brand name ideal for an advertising, branding or design business. The word "Right" emphasizes the intention to hit the nail on the head with the right concept.
|Exact Match Domain Provided:
|Brand Tone:
|Strong, professional, expert, confident, insightful
|Business Sector:
|Advertising, branding and/or design agency, architecture, product design
|Brand Potential:
|We can see this evolving into a multi-faceted business; "ConceptRight" advertising and branding, product design and development etc.
You can own this brand-in-a-box today!
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