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Okay you nincompoops and asinine asses who call yourself the "Lok Janashakti" ( English translation: lynch mob) Party. Lay off. And get a life. Seriously.
A group of people, claiming to be supporters of the Lok Janshakti Party, on Monday vandalised the house of cricketer Mohammad Kaif after his poor show in the ongoing One-day series against South Africa.
Kaif scored 8 and 10 in the two One-dayers against South Africa who drubbed India in both the matches, leading to strong criticism back home.
"A number of them tried to storm the house, broke some electric bulbs and plastered the name plate with mud," police said.
If there is anything worse than watching Ajit Agarkar bowling short-and-wide or Dinesh Mongia at the crease flapping about like a pomfret fish out of water, it has to be the sheer imbecility of the "passionate Indian fan"—–specifically the ones who think that the physical safety and personal property of the player and his family are fair targets for their so-called anguish.
Incidentally, on the subject of idiots and half-wits, back off Somnath Chatterjee. And Vijay Kumar Malhotra. And Amar Singh. And all those "agitated", apparently jobless members of parliament who are out to score political points and get their names in the headlines by fanning public hysteria and asking for immediate recriminations against the team management. Quite frankly, honourable members of the august houses, the last persons who should be speaking of performance and accountability are you people—at least the Indian cricket team has and will have days of glory. Which is more than I can I say about any of you.
Team India's 106-run loss on Sunday has sent political tempers blazing. On Monday, Members of Parliament (MP), cutting across party lines, attacked coach Greg Chappell over his comments following the thrashing that Dravid and his men received at the hands of South Africa. One of them even threatened a privilege motion against the Australian.
"If MPs are willing, a privilege motion can be moved against Chappell," Minister for Women and Child Development Renuka Choudhary told a private news channel.
Chappell, on Sunday evening in Cape Town, had said that he was not surprised by the sharp criticism from the MPs, following India's poor show in the One-dayers so far.
The elected leaders were doing their job, the Australian had said. "I am not surprised. They (MPs) are paid to do so in Parliament,"
Dear Ms. Chowdhury —- here is a simpler suggestion. Rather than passing a motion against Chappell, just say that the great Greg mentally harassed you, a woman, by casting aspersions on your character—–i.e. by supposedly hinting that it is your job to emit hot air. And book him under the new Domestic Violence Act. Just like Azim Premji was summoned by the court for harassing the wife of a Wipro employee because Wipro paid men "dating allowances" (whatever that means).
In all honesty, Ms. Renuka, Chappell was not calling MPs paid protesters. If he really wanted to say that, he would have just shown you his middle finger. What he was doing was singing that eternal favourite from "Amar Prem" to console the dejected Suresh Raina, who was upset at MPs criticizing his batting style:
Kuch to log kahenge,
Logon ka kaam hain kahena,
Choro bekar ki baaton main
Kaheen beet na jaaye Suresh Raina.
Which brings me to Greg Chappell. More specifically his pathetic man-management skills, his vindictive, authoritarian streak which brooks no dissent and his propensity for stating the obvious in a pedantic, management-guru "ponytail" style. One of the bogeys he has is "performance"—an Australian ethic which his supporters in the press (more of them later) go ga-ga about. If anyone points out one more time how we need to bring the Australian ethic where an Ian Healy and a Steve Waugh and a Bevan are eased out ruthlessly the moment their performance dips, then I swear I shall start singing "Chilai Chun Chun". The reason why this works in Australia is because they have exceptional talent waiting in the wings—a Gilchrist, a Hussey and a Michael Clarke.
We however have Badrinath and Hemang Badani and Venugopal Rao. Which is why we need VVS Laxman chalked in to the side (something that is being done but too late), despite the fact that he has shaky knees. Because he has a greater chance of surviving and actually scoring on a South African pitch than specialist batsmen like the Mongias and the Rainas, whose higher fitness level counts for zilch if they spend most of the batting time inside the pavilion.
This is where Chappell has really hurt Indian cricket talent. Using the bogey of performance and fitness, he has gotten rid of people who do not see things the Chappell way and in their stead concentrated on packing the team with more pliable, younger men with no baggage and no trenchant opinions. Some "management-friendly" players like Kaif, the perennially underperforming old "young" man, have been put on a long leash while a few others have been sought to be weeded out, based on rather dodgy considerations.
Which brings me to the press. No I am not talking about the pearls of wisdom of Ravi Shastri like how Gautam Gambhir would be sending the South Africans on a leather hunt. I am talking about India's leading cricket-themed website Cricinfo and their cricket experts. This is what I said about them once, long ago.
And Cricinfo. Man I used to really like these guys—unlike the guys at TOI they understand their cricket. They still do I think but in the Ganguly issue have totally lost their objectivity.
Ever since I read that Ganguly does not give them quotable quotes and instead pampers to a select coterie of journalists —I knew that the staffers were waiting with their knives out ready to plunge it in when he slipped up. And slip up he did and out came the daggers. A picture of Cricinfo staffers with Rahul Dravid and Mohammed Kaif, who had dropped in for a casual visit, kind of hinted which way the PR river was flowing.
Anand Vasu opines:
For all he has contributed to this team, Ganguly deserved a better farewell – if indeed that's what this is – than being abruptly dropped. He deserved to walk away into the sunset, head held high, not be nudged out, first by coach, then the media, the public, and finally the selectors. But then again, with his batting, his behavior and his almost stubborn refusal to let go, he barely gave anyone a chance to do any better by him.
What behaviour Mr Vasu? The bad behaviour of snubbing Cricinfo reporters?
And also this very illuminating sentence from Dileep Premchandran, Cricinfo journalist.
The coterie that once surrounded him (Ganguly), and contributed in no small measure to the media disenchantment that cost him the top job, stayed at a respectful distance,
Yes. It was "media disenchantment" that cost Sourav the job.
In sharp contrast to the way Cricinfo staffers were falling over themselves to critique everything Sourav did when he was the captain, this time they have been refreshingly "balanced'. When Rahul Dravid pulls out with an injury at a time when the Indian team is in the pits, Cricinfo calls it an injury and leaves it at that.
Rewind. October 31, 2004. Just before the Nagpur test, Sourav pulls out. Cricinfo reports it:
Ganguly, 32, pulled out on the morning of the Nagpur Test, which Australia won by 342 runs, complaining of groin pain. Medical investigations – bone-scan, MRI and diagnostic ultrasound – "revealed intra-articular pathology of the right hip joint noted by increased synovial fluid accumulation," which translates in layman's terms to an injury or inflammation of the hip joint leading to an increase in the lubricating fluid around it. And it can cause pain to radiate down to the thigh and even to the knee.
So far so good. Now comes the barely-concealed innuendo.
The diagnosis has not entirely placated certain sections of the Indian media, who have called Ganguly's integrity into question after his sudden withdrawal from the Nagpur Test. One Mumbai paper claimed he had pulled out in "a fit of pique", when he discovered that his request for a spin-friendly surface had been denied
The more charitable of us would chide Cricinfo for giving publicity to a questionable, unsupported allegation. The more cynical of us would say that the reason Cricinfo mentions it is because they are also part of that "certain section".
But now, things have changed (Sambit Bal from Cricinfo with Chappell on the left) and there is "no media disenchantment" with the captain or coach. Everyone is everyone's friends and the reporting is collegial and forgiving. Chappell's numerous tactical gaffes are not commented on, uncomfortable questions are not asked and an injury is reported as an injury and not as a contributory factor to any defeat that may follow. (In contrast Sourav's profile on Cricinfo says: "The beginning of the end came in 2004 at Nagpur – when his last-minute withdrawal played a part in Australia clinching the series").
Concluding, and it has been a long post, things are indeed dire. We have been at the receiving end of two more than 100 run-margin drubbings. We have been getting defeated on subcontinental soil pretty regularly in recent times. We would have collapsed to a sub-100 score against Australia had it not been for the rain. Our best batsman is injured. Our best young player may not be available for the World Cup. And our coach —well you get the picture.
More than anything else, we need inspiration at the crease. From where it will come from, I do not know.
But we need something even more than that.
And that is for people to understand that while Dravid's men may be just losing matches, it is the "passionate fans" engaging in violent protest and the useless politicians fanning the frenzy for self-publicity who are, in the final analysis, the real losers.


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F1 car is made up of 80,000 components, if it were assembled 99.9% correctly, it would still start the race with 80 things wrong!
Formula 1 cars have over a kilometre of cable, linked to about 100 sensors and actuators which monitor and control many parts of the car.
F1 car can go from 0 to 160 kph AND back to 0 in FOUR seconds!!!!!!!
F1 car engines last only for about 2 hours of racing mostly before blowing up on the other hand we expect our engines to last us for a decent 20yrs on an average and they quite faithfully DO....thats the extent to which the engines r pushed to perform...
When an F1 driver hits the brakes on his car he experiences retardation or deceleration comparable to a regular car driving through a BRICK wall at 300kmph !!!
An average F1 driver looses about 4kgs of weight after just one race due to the prolonged exposure to high G forces and temperatures for little over an hour (Yeah thats right!!!)
At 550kg a F1 car is less than half the weight of a Mini.
In F1 car the engine typically revs upto 18000 rpm,(the piston travelling up and down 300 times a second!!) wheres cars like the palio, maruti 800,indica rev only upto 6000 rpm at max. Thats 3 times slower.
The brake discs in an F1 car have an operating temperature of approx 1000 degees Centigrade and they attain that temp while braking before almost every turn...that is why they r not made of steel but of carbon fibre which is much more harder and resistant to wear and tear and most of all has a higher melting point.
If a water hose were to blow off, the complete cooling system would empty in just over a second.
Gear cogs or ratios are used only for one race, and are replaced regularly to prevent failure, as they are subjected to very high degrees of stress.
The fit in the cockpit is so tight that the steering wheel must be removed for the driver to get in or out of the car. A small latch behind the wheel releases it from the column. Levers or paddles for changing gear are located on the back of the wheel. So no gearstick! The clutch levers are also on the steering wheel, located below the gear paddles.
To give you an idea of just how important aerodynamic design and added downforce can be, small planes can take off at slower speeds than F1 cars travel on the track.
Without aerodynamic downforce, high-performance racing cars have sufficient power to produce wheel spin and loss of control at 160 kph. They usually race at over 300 kph.
The amount of aerodynamic downforce produced by the front and rear wings and the car underbody is amazing. Once the car is travelling over 160 kph, an F1 car can generate enough downforce to equal it's own weight. That means it could actually hold itself to the CEILING of a tunnel and drive UPSIDE down!
In a street course race like the monaco grand prix, the downforce provides enough suction to lift manhole covers. Before the race all of the manhole covers on the streets have to be welded down to prevent this from happening!
The refuelers used in F1 can supply 12 litres of fuel per second. This means it would take just 4 seconds to fill the tank of an average 50 litre family car.They use the same refueling rigs used on US military helicopters today.
TOP F1 pit crews can refuel and change tyres in around 3 seconds. It took me 8 sec to read above point ( no.17).
Race car tyres don't have air in them like normal car tyres. Most racing tyres have nitrogen in the tyres because nitrogen has a more consistent pressure compared to normal air. Air typically contains varying amounts of water vapour in it, which affects its expansion andcontraction as a function of temperature, making the tyre pressure unpredictable.
During the race the tyres lose weight! Each tyre loses about 0.5 kg in weight due to wear.
Normal tyres last 60 000 - 100 000 km. Racing tyres are designed to last 90 - 120 km (That's Khandala and back from Mumbai).
A dry-weather F1 tyre reaches peak operating performance (best grip) when tread temperature is between 900C and 1200C.(Water boils boils at 100C remember) At top speed, F1 tyres rotate 50 times a second.
Login to add comments on this post.
- Guest 8 years ago
HAHAHA 900-1200 C on tyres?? :DD Rupper will even vaporize way less than 900 C, come on iron melts in 1500 C :D I think every rupper in world will melt under 200 C.
You probably mean 90-120 C is peak operation temp for tyres...

subset: commoncrawl


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FORT CAMPBELL – Once-beaten Dagestani prospect Rustam Khabilov continued his impressive UFC run with a hard-fought decision win over a game Jorge Masvidal.
The lightweight bout was part of the main card of today's UFC Fight Night 31 event at Fort Campbell in Kentucky. It aired on FOX Sports 1 following prelims on FOX Sports 1 and MMAjunkie.com.
While most expected him to wrestle from the start, Khabilov opened the action with a crisp overhand right. However, Masvidal didn't stagger. Instead, he kept his hands high as the two traded strikes on the feet. Khabilov continued to find success by faking takedown and walking in with strikes, but Masvidal did well to defend the first real shot. Late in the round, a Masvidal right was nearly followed by a flying knee, but Khabilov pressed in and slowed things down. The round ended in the clinch.
The two continued to trade on the feet in the second, with Masvidal showing off his technical precision while Khabilov moved in and out and fired shots from odd angles. Masvidal added in a kick with some success and even scored a takedown of his own in the latter stages, though Khabilov was quickly back to his feet, briefly moving to his opponent's back but unable to capitalize.
With the scores anything but certain in the third, Khabilov made a huge impact by flooring Masvidal with well-timed spinning high kick. Khabilov immediately rushed forward to take advantage of the opportunity, but Masvidal defended well and moved back to his feet. Masvidal looked to counter on the feet, and he briefly controlled the neck, but he couldn't sink in an earnest choke attempt. Late in the frame, Masvidal attempted an ill-advised spinning kick, and Khabilov stepped into it and pushed him to the floor. The round played out on the floor, and the fight went to the judges, who have Khabilov the fight 30-27, 29-28 and 30-27
"This was a hard night, hard fight and hard training went into this camp," Khaboliv said after the fight. "This was the best camp I've ever had.
"I've been working on the 'Tiger' kick you saw me land with my coaches. I'm happy I was able to use it in the fight. I'm very happy with my work tonight."
With the win, Khabilov (17-1 MMA, 3-0 UFC) keeps his UFC record unblemished. Masvidal (25-8 MMA, 2-1 UFC) sees a three-fight winning streak snapped.
Up-to-the-minute UFC Fight Night 31 results include:
- Rustam Khabilov def. Jorge Masvidal via unanimous decision (30-27, 29-28, 30-27)
- Michael Chiesa def. Colton Smith via submission (rear-naked choke) – Round 2, 1:41
- Bobby Green def. James Krause via TKO (kick) – Round 1, 3:50
- Francisco Rivera def. George Roop via TKO (strikes) – Round 2, 2:20
- Dennis Bermudez def. Steven Siler via unanimous decision (30-27, 30-27, 30-27)
- Amanda Nunes def. Germaine De Randamie via TKO (strikes) – Round 1, 3:56
- Lorenz Larkin def. Chris Camozzi via unanimous decision (30-27, 30-27, 29-28)
- Yancy Medeiros def. Yves Edwards via KO (punches) – Round 1, 2:47
- Seth Baczynski def. Neil Magny via unanimous decision (29-28, 29-28, 29-28)
- Derek Brunson def. Brian Houston via submission (rear-naked choke) – Round 1, 0:48
For complete coverage of UFC Fight Night 31, stay tuned to the UFC Events section of the site.
Dann Stupp contributed to this report on-site at Fort Campbell.


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Federal agents expressed concern that Christopher Dorner was fleeing to Mexico, hours after shooting and killing a Riverside police officer, according to a court affidavit filed last week.
While the search for Dorner has focused on the Big Bear area, where his burning truck was found Thursday, patrols have also been increased near the Mexican border.
U.S. Customs and Border Protection agents have stepped up their inspections at the San Ysidro border crossing into Tijuana, and Mexican officers have been given photographs of Dorner, with a warning to consider him armed and extremely dangerous, The Associated Press reported on Monday.
A hotel in Tijuana was raided early Monday in search of Dorner, the San Diego Reader reported. More than 20 officers searched the Hotel Tapatio, which is located about 250 meters from the U.S. border, the publication's website reported, but no evidence of Dorner was found.
A federal court affidavit filed by a U.S. Marshals Service inspector on Thursday noted that a wallet and identification cards belonging to Dorner were found Thursday near the San Ysidro crossing.
The complaint, signed Thursday by a U.S. magistrate judge in Orange County, charges Dorner with fleeing the country to avoid prosecution, suggesting that even as hundreds of officers have spent days searching for him, he might already be out of the country.
Authorities have said there is no indication now that he is in Mexico. But they have not had any confirmed sightings of him since he engaged in shootouts with police in Corona and Riverside early Thursday morning, killing one officer.
The court affidavit also reveals how authorities found Dorner's burning truck in San Bernardino.
The affidavit is supposed to show there is sufficient cause for an arrest warrant and a criminal complaint against Dorner.
In the affidavit, Inspector Craig McClusky of the U.S. Marshal Service wrote there was probable cause to believe Dorner has moved and traveled from California to Mexico with the intent to avoid prosecution.
McClusky referred to the Feb. 7 incident in San Diego where Dorner allegedly tried to steal a boat and told the victim he was taking the boat to Mexico.
He added that a guard at the Point Loma naval base in San Diego reported later that day seeing a man matching Dorner's description trying to gain access to the base.
According to the same affidavit, the marshals had also been tracking a known associate identified only as "J.Y."
He wrote that a family member of J.Y. owns residential property in Arrow Bear. The marshals and the San Bernardino County Sheriff's deputies were doing surveillance of the property at 12:45 p.m. Thursday when they found a gray 2005 Nissan Titan on fire. It was later identified as Dorner's pickup.
J.Y. was seen at 12:25 p.m. in Costa Mesa, according to McClusky.
Dorner, a fired Los Angeles police officer, was charged Wednesday with murder in the Feb. 3 Irvine shooting deaths of Monica Quan and her fiance, Keith Lawrence.
Quan is the daughter of retired LAPD captain Randal Quan, who represented Dorner at his 2008 internal trial before his firing.
In a lengthy Facebook post, Dorner threatened revenge on LAPD officers he believes wronged him, as well as the officers' families. He accuses Quan of not representing his interests.
According to the court affidavit, on Thursday afternoon a man identified in the document as R.Q. – apparently Randal Quan – got a call from a man identifying himself as Dorner, who told Quan he "should have done a better job of protecting his daughter."
The phone call was traced to Vancouver, Wash., but authorities don't believe Dorner was actually in Washington state at the time.
Police officials on Monday said they believe the call was a prank.
A Marshals Service spokeswoman couldn't be reached for comment Monday.
The affidavit by Inspector Craig McClusky gives new details of the timeline authorities have been able to piece together of Dorner's apparent movements Thursday.
After firing on two LAPD officers about 1:30 a.m. in Corona, slightly injuring one, he shot two Riverside police officers in Riverside about 2 a.m., killing one, the marshals believe.
About 3 a.m., the affidavit says, he tried to steal a boat from a captain in San Diego, identified as C.C.
"C.C. reported that at approximately 3:00 A.M. today, a man matching Dorner's description had subdued him and tried to steal his boat, stating that he (Dorner) would be taking the boat to Mexico, and that C.C. would be able to recover the boat there," McClusky wrote.
But the bow line got caught in the propeller, and Dorner fled, the affidavit says.


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Terry McIntosh Biography
Terry Lynn McIntosh (born January 16, 1950) is a Christian Evangelist, an author, actor, former Green Beret, and Army Ranger.
Life and Career
Family and Education
McIntosh was the sixth of seven children born to Claude and Esta McIntosh in Paducah, KY. His father died when he was age 5, and the family struggled until Esta remarried in 1959. The family moved to Graves County, KY and he attended Wingo High School. He dropped out of school at age 16 and enlisted in the US Army in 1967 during the Vietnam war. McIntosh completed school and received his General Equivalency Diploma while on active duty. He later attained an Associate Degree in Merchandising from a local community college in 1979.
McIntosh married Susan Henson Thomasson in 1983. They had one son, Adam Grant, born November 10, 1985, and two sons by Susan's first marriage, Andrew and Kyle.
Religious Career
As the battles raged between Palestinian and Israeli security forces in September 1996, McIntosh opened the Jesus House of Prayer, a Christian chapel in the city of ancient Jericho. As CEO and Pastor, he obtained permission for Christian events that Jericho's predominate Islamic community had never seen to include city wide public outreaches. He enjoyed both military and police protection while preaching the gospel to the Islamic world of Jericho and all of Palestine in spite of radical opposition.
McIntosh made an unprecedented appearance on Islamic television during Israel's military invasion dubbed "Operation Defensive Shield" in April 2002 with a message of peace addressed to both nations. He charged Israel to turn around and "give life," and he admonished Palestine to follow Christ crucified as the only hope for salvation. Attendance at the Jesus House of Prayer grew to such large numbers that home groups formed around McIntosh and his teachings about Jesus.
McIntosh's influence in the Islamic world defied all logic and he found himself between two warring parties - Christianity and Islam. Christian peers accused McIntosh of working for Yasser Arafat and promoting terrorism. Islamic radicals issued a jihad against McIntosh and called for his death. The International Christian Embassy Jerusalem inaccurately reported that McIntosh deserted the ministry work during the second Palestinian uprising at the same time he was appearing on Palestinian TV more than 90 times. McIntosh is the only Christian evangelist to appear on Palestinian Islamic owned television during intense fighting between Israel and the Palestinian Authority. He turned all ministry responsibility over to local ministers in 2007.
McIntosh founded Jerusalem Direct, an international radio outreach that also aired on various radio stations in the United States and Palestine.He also founded the Jesus Christ Embassy Palestine in search of peaceful reconciliation between Jews and Palestinians.
Military Service
McIntosh completed Airborne Parachute School in 1967 at age 17 and was assigned to Co. D, 17th Infantry Long Range Patrol in Germany. The LRRP unit was an elite airborne light infantry force capable of conducting Direct Action Operations. The "Lurps" operated on reconnaissance and combat patrols to obtain vital intelligence or perform highly dangerous covert missions into enemy held territory, and remained on high alert throughout the Cold War.McIntosh was skilled in automatic weapons, radio communications, and special operations.
Due to heavy US casualties at the height of the Vietnam War, McIntosh re-enlisted for an additional year and volunteered for a tour of duty in Vietnam. He was assigned to the 5th Special Forces Group (ABN) in 1968. He served 6 months on A-Team 414 in the Mekong Delta 1969 as one of the youngest men in military history to wear the Green Beret and serve on a Special Forces A-Team. He commanded or participated in 22 combat missions to include Search & Destroy, Ambush, Airboat, and Aerial Assault Missions. He served with Col. Robert Rheault's espionage team at the time of the execution of a double agent (Thai Khac Chuyen) which sparked Daniel Ellsberg's compilation and eventual release of the Pentagon Papers. See also "Project Gamma."
His tour of duty included a short term assignment to Nui Coto, a fortified Viet Cong stronghold in the 7 Mountains area at end of the Ho Chi Minh Trail. McIntosh became ill and was medivac to 29th Evac hospital in Can Tho. He was diagnosed with "Fever of Unknown Origin" and returned to duty at A-414 upon recovery.
Awards and decorations include the Combat Infantryman Badge, Vietnamese Cross of Gallantry, Army Commendation Medal, VSM w/4 Bronze Service Stars, Civil Actions Medal, Expert Badge (Rifle), United States, Vietnamese, and German Parachute Wings, and other awards. McIntosh finished his military service with the 75th Rangers, and was Honorably Discharged in 1971. He attained the rank of Sergeant E-5.
Unofficial Mark of Distinctive Service:
McIntosh is one of the youngest men, if not the actual youngest, to ever wear the Green Beret into combat and serve on an A-Team. Military Records verify that he was assigned to Special Forces at age 18 and at the height of the Vietnam War because of his military skills. The median age of Special Forces soldiers was about 30 to 35 years old. The Group had suffered high causality rate Tet68, and temporarily dropped the age requirement to 18 in order to fill much needed positions. In spite of the age drop, SF only recruited those qualified in a critical Military Occupational Skill. The assignment demanded skill, determination, and ability in keeping with SF standards. McIntosh was accepted by his team members without question. They were all getting shot at regardless of age, and it was during a time when a soldier was judged by his actions more than anything else.
McIntosh earned his Combat Infantryman Badge at age 19 during a Search & Destroy mission in the Mekong Delta. Lt. Col. Wesley Herrlein was OIC with air support, and ten enemy soldiers were killed in action. A citation of combat was submitted, and orders for the award were cut Feb 23, 1969. McIntosh was assigned assigned to Det. A-414 in Thanh Tri, a rifle shot from the Cambodian border. He spent 170 days on the A-Team.
McIntosh's service was in the old Army and before the SF Tab was issued to qualified soldiers. Before creation of the Tab in1983, Special Forces status was indicated by wearing a full-size unit flash on the Green Beret. At the time of its creation in 1983, the Special Forces Tab was retroactively awarded to any Army soldiers previously Special Forces qualified. In addition, as set forth in Army regulations, veterans of certain categories of former wartime service are also eligible for retroactive awards of the tab. This includes personnel captain and below awarded the Combat Infantryman Badge or Combat Medical Badge while serving at least 120 days war time service between 1955 and 1975 in a Special Forces Operational Detachment-Alpha (A-Team).
McIntosh met the criteria for award, was airborne qualified and his assignment to SF was PCS (Permanent Change of Station) with full size unit flash which indicates that he was an official part of the Group by all current standards 1968. Based on those facts, it is likely that he is the youngest man in Special Forces history to engage the enemy in ground combat, and certainly one of the youngest men to wear the Green Beret.
Film Credits
McIntosh acted in two Warner Brothers movies as an extra and stand in actor. "In Country" 1989 and "US Marshals" 1998 (unaccredited). He wrote, produced, and directed several made for television amateur shows and produced "For the Love of Israel" which documented the plight of Jewish Christians being denied citizenship because of their faith in Christ in 1993. The video made a strong appeal to Israel to rescind the Law of Return, which it eventually did. The anti missionary orthodox Jewish organization Yad Lachem campaigned against McIntosh, and his Israeli press credentials were not renewed.He produced a low budget documentary in 2014 about his Vietnam experience entitled "Double Agent Down - the Green Beret Affair."
Between Bullets (2004) - A chronicled history of his overseas ministry work.
The Golden Calf of Christianity (2002) An expose of overbalanced Christian theology.
I Shall for the sake of my Holy Name (2015) - An expose of political and religious manipulations hindering God's plan of reconciliation that concludes with revelation of God's great plan for Jews and Palestinians.
McIntosh contributed to Military History Online with his article "The Green Beret Affair - A Factual Review," 2010.
Ministry References:
Rodan, Steve, Najib, Mohammed, "At the Boiling Point," The Jerusalem Post Magazine, October 1997.
LAW - The Palestinian Society for the Protection of Human Rights and the Environment, "The Myth of Christian Persecution," 1998.
WAFA Palestine News Agency, "Christians Demand "Tear Down Separation Wall," May 2007.
Werner, Justis, "Freedom of Religion," Religious freedom examined on the basis of Article 18 of the UN Declaration of Human Rights, 2001
Darg, Christine, "the Jesus visions - Miracles Among Muslims," Destiny Image Europe 2006
Register, Ray, "Disciplining Middle Eastern Believers," GlobalEdAdvancePress 2009
Smith, David, "Just to see better," The Jerusalem Post Magazine Christian Edition, September 2007
Staff, "Christian Ads on Islamic TV," The Jerusalem Post Magazine Christian Edition,
June 2007
Kachinski, Lena, "A Church on Fire," The Jerusalem Post Magazine Christian Edition,
March 2007
Al-Katoot, Gihassan, "A delegation from the society of the Jesus House of Prayer for Peace Visits Nablus," Al-Quds Arabic International Newspaper, January 2007
Ireland, Michael, "West Bank evangelist challenges Islam to teach tolerance, stop acts of
violence against Christians - TV Message to both nations" Assist News Service, October 2007
Dateline, "Paducah native centers campaign on Palestinians," The Paducah-Sun, April 2002
Walker, Joe, "Mission of Faith," The Paducah-Sun, 1996
Wright, Leigh Landini, "Global Message," The Paducah-Sun, 2007
Landini, Leigh, "Keeping the faith in a war zone," The Paducah-Sun, December 2000
Staff, "PLO Guards Christian Conference in Jericho," Lone Oak News, June 1996
Staff, "Paducah men promote peace at Jericho service," The Paducah-Sun, June 1998
Staff, Video focuses on persecution in Holy Land," The Paducah-Sun 1993
Military References
Secrets: a memoir of Vietnam and the Pentagon Papers by Daniel Ellsberg
Stein, Jeff, "A Murder in Wartime" 1993
Smith, Lisa, "Faithful Devotion" 2009
Militaryhistoryonline.com, "The Green Beret Affair - A factual review." 2010
See Also
Project Gamma
Thai Khac Chuyen
History Commons, Sept. 29, 1969


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As I mentioned in my original post, Exploring Excel 2013 as Microsoft's BI Client, I will be posting tips regularly about using Excel 2013. Much of the content will be a result of my daily interactions with business users and other BI devs. In order to not forget what I learn or discover, I write it down … here. I hope you too will discover something new you can use. Enjoy!
From Power Pivot to SSAS Tabular
As companies move through the cycle of building Excel based solutions for business intelligence and analytics, they eventually end up with a SQL Server Analysis Services Tabular Model. The tabular model comes into play when you need more data in your model or want to support more granular security.
Up to this point, users have been happily using Power Pivot models in Excel to build their analysis solutions. However, once the model is deployed to tabular some functionality or interaction with the model changes in significant ways.
To summarize this point, power users or data modelers will create Power Pivot models in Excel. These models may or may not be deployed SharePoint, but they need to take them to the next level. You can migrate a Power Pivot model to tabular with ease by using the import option in SQL Server Data Tools.
Interacting with Power Pivot
I started by creating a simple Power Pivot model using Adventure Works DW data based on the Internet Sales fact table. I am using seven tables in my model as shown here.
I am not going to add any calculated measures to the model because Power Pivot allows me to use the data as it sets. Next we create a pivot table based on this model. I dropped the Fiscal Year onto rows and added OrderQuantity and ExtendedAmount to the values region. When OrderQuantity and ExtendedAmount are added to the pivot table, Excel defaults to a sum calculation when working with the data. Basically Excel creates the calculation for you based on what it knows about the data.
The point here is that I have data that can be used as values without doing any additional work with the model. I saved the workbook, closed Excel and moved on to the next step.
Interacting with Tabular
First we need to convert the Power Pivot model to a tabular model. Which is done by importing the model we just saved in SQL Server Data Tools. Once we have the project open, we need to deploy the model to a SSAS tabular instance so we can connect to it with Excel.
Now that it has been deployed to SSAS we can reopen our workbook and add a connection to the tabular model. In the field list we notice three differences now that the model is tabular.
1. The SUM symbol (sigma) is used to highlight values or measures that can be calculated.
2. The values we created in the Power Pivot model show up here.
3. In the Values section, "_No measures defined" is shown.
When working with multidimensional models, the Values section are represented the same. That makes sense as the connection that Excel is using is based on MDX not DAX. This significantly changes the user experience.
Let's add a new measure to our Power Pivot model and try to do the same in the tabular model. We can still drop the DiscountAmount into the values section in our pivot table based on Power Pivot. However, when we try to do the same on tabular we get an error saying that we cannot add it to that area of the report.
In order for us to use DiscountAmount as a measure we will need to create an OLAP measure (See Excel Tip #8 for details) to use it in this Excel workbook or we will need to add it as a calculated measure in tabular and redeploy for it to be available.
What's Happening
Because Excel treats a tabular model the same as a multidimensional model in SSAS you will need to add calculated measures for all measures you want to use as values in pivot tables in Excel. Multidimensional models are highly structured using the dimension and measure group techniques. While tabular "feels" like Power Pivot, to be used by Excel it needs to appear structured like multidimensional cubes.
Making this more interesting is that Excel uses MDX to communicate with tabular models, not DAX. As a result, we are able to use the OLAP tools in the PivotTable Tools ribbon.
This option is not available when working with Power Pivot models in Excel.
Impact to Users
Overall the impact to users, in particular power users and report builders, is that they have less "freedom" to design when using a tabular model. If they want to add more calculations, they need to be familiar with MDX. Furthermore, if they want the calculations to be generally available they need to work with IT to deploy updated models.
Hopefully we will see DAX supported interaction with SSAS in the future, but for the moment you need to understand how tabular and Power Pivot differ when using pivot tables in Excel.


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Told you there'd be another Charles H. Baker drink before this whole 30/30 things was over….
Baker describes this daiquiri-with-benefits as "a Lovely Thing Introduced to Us through the Gracious Offices of the Late Facuno Bacardi, of Lamented Memory", and says that "along with the immortal Daiquiri, this is the best Bacardi drink on record."
That's a tall claim, and one that might well stand up if Baker's preparation instructions are slightly tinkered with. Baker says to serve the rum-lime-simple syrup combo over shaved ice in a large goblet, and then to float a half-jigger of yellow Chartreuse on top before adding a squirt of soda water, and garnishing with mint, fruit and whatnot.
I made a few adjustments to Baker's recipe, and it could use one or two more; having almost always been disappointed by drinks constructed with shaved ice, I went the crushed route, in a double old-fashioned glass. And since the soda water would seem to disrupt the float, I added the bubbles first, and then attempted to float the Chartreuse, only to be reminded of how much heavier the liqueur was as compared to everything else in the drink as it quickly dribbled down through the ice and settled on the bottom of the glass in a hazy yellow cloud that was actually quite pretty, as you would be able to see if I'd bothered to photograph it.
Lacking specifics from Baker, I chose to go the white rum route with the Daisy de Santiago; next time, I'm going the aged route, and I imagine Bacardi 8 should serve quite nicely. I also skipped the garnish, which was foolish in a way, as the mint would have provided aromatics that this drink could certainly use.
The Daisy de Santiago has enough life in it to have earned a cocktail menu position at places including The Violet Hour in Chicago and Clover Club in Brooklyn; I'm curious to know how they make theirs, as it has the promise of being an absolutely lovely drink, but a little tweaking of the preparation is needed to really make it shine.
Here's how I prepared it, with the suggested modifications I mentioned; let me know if you have details on how you or bartenders you've seen go about the same drink:
Daisy de Santiago
- 2 ounces rum (I used the white rum from Appleton; go aged next time)
- juice of 1 lime (about 1 ounce)
- dash simple syrup
- 3/4 ounce yellow Chartreuse
Shake the rum, lime and simple with ice and strain into double old-fashioned glass filled with crushed ice. Add about 1 ounce of soda water, and gently pour Chartreuse over top of drink. Garnish with a good sprig o' mint — I'd say this is essential, for the aroma — and fresh fruit as desired.
This drink is part of 30/30, a series of 30 drinks in 30 days — or as much as I can keep up before collapsing in a weary, booze-addled heap.


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PCB receiving pushback from abandoned building owners
PANAMA CITY BEACH — Panama City Beach officials are dealing with what they call a "deadbeat developer."
The vacant Beach Club Motel caught fire in May, and the city building department declared it unsafe and a public nuisance. Since then, efforts to get the owner, Atlanta area developer David Pearson, to either repair or demolish the structure have proven fruitless, officials said.
"It's a scourge to the residents of Panama City Beach and the visitors of Panama City Beach," said Councilman Keith Curry. "He needs to come down here and clean up his properties."
Panama City Beach building inspectors declared the property unsafe and unfit for habitation last month, stating the structure must be repaired or demolished.
The Bay County Property Appraiser outlined a $290,461 building valuation for the Beach Club Motel site at 10637 Front Beach Road, and inspectors estimated a $390,705 cost of repairs. Buildings at the owner's adjacent parcel were valued at $138,664 with $266,511 worth of repairs needed.
The declaration gives the property owner 21 days to produce a contract for construction or demolition of the building, followed by 30 days to begin work and another 30 to complete the project.
A letter was sent to Pearson, who rebutted that the buildings should not require demolition under city code because the property appraiser value did not account for its potential value after improvements.
"In light of the facts set forth herein, the beach motel property, in its present state, is in compliance with Panama City (Beach's) code," Pearson wrote in an email to the city's code enforcement officer.
Read the mail from Pearson
If the developer does not act, the city could place a lien against the property and demolish the building itself, but building department director Mel Leonard said a change in state legislation has made it harder for municipalities to get paid back for those actions. The legislation requires property owners to pay off mortgage companies before local governments, he said.
"That puts a cloud over local governments trying to get this done," Leonard said. "There's more of a risk for local governments because we may not get our money back."
The city is operating under an unsafe building abatement code from 1985 and is exploring a more aggressive approach to the code that would allow officials to intervene more quickly.
Under the code, building officials must identify repairs needed to bring a building up to code and conduct a cost estimate of repairs. If the needed repairs exceed 50 percent of the cost of the building, the owner is required to either conduct the repairs or demolish the building, or the city will take action.
The half-acre, beachfront property was acquired by the developer out of foreclosure last year for $1.3 million.
Curry said he believed the developer, who owns other vacant properties in the area, scooped up low-price properties so he can "flip" and sell them once the market improves.
"This is our town; this is our community," Curry said. "We need to hold these commercial people, these investors, to the same standard (as residents). They need to take care of their properties."


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Knicks fire coach Mike Woodson after lost season
NEW YORK - Mike Woodson had the Knicks on top of their division and in the second round of the playoffs, destinations that had become unreachable and practically unimaginable in New York.
A year later, he was out of job.
Phil Jackson fired Woodson and the entire coaching staff on Monday, making his first big move since becoming team president in March and saying in a statement that "the time has come for change throughout the franchise."
The dismissal comes shortly after the Knicks completed a 37-45 season that began with their belief they were a serious contender.
Instead, they started poorly, making Woodson's job security practically a season-long distraction. A late surge wasn't good enough for a postseason spot or another year for Woodson.
It was a stunningly swift fall for Woodson, whose .580 winning percentage with the Knicks ranks behind only Pat Riley and Jeff Van Gundy, and who finished third in the NBA's Coach of the Year voting after going 54-28 last season.
He and the staff were informed of the decision Monday morning by Jackson, the man the Knicks originally wanted to replace Woodson as coach but preferred to run the team's front office.
Jackson has won an NBA-record 11 championships as a coach. He has repeatedly said he's not interested in returning to the bench, so he will have to hire someone before he turns his attention to the roster. The team said the coaching search begins immediately.
Jackson said he has a "tremendous amount of respect" for Woodson and his staff, which included longtime Knicks assistant Herb Williams. Jackson called this an "extremely difficult" season and said "blame should not be put on one individual."
"But the time has come for change throughout the franchise as we start the journey to assess and build this team for next season and beyond," he added.
Jackson has said he won't insist the Knicks run the triangle, the offensive system he used in Chicago and with the Lakers, but has made clear his belief in it. TNT analyst Steve Kerr, who played for Jackson with the Bulls but has never been a coach, has repeatedly been mentioned as a top candidate.
Kerr said Monday during his SiriusXM NBA Radio show that he and Jackson have remained close and that he expected to speak with him at some point about the job.
"It's going to be very interesting and obviously my name is being thrown around. I do anticipate at least being part of the conversation and we'll see where it all goes," Kerr said.
Jackson is scheduled to speak with reporters on Wednesday.
Woodson, a former Knicks first-round draft pick, was hired as an assistant coach before the 2011-12 season, then engineered an 18-6 finish after replacing Mike D'Antoni on an interim basis the following March to capture a playoff spot. Given a multiyear deal two months later, Woodson then led the Knicks to their first Atlantic Division championship since 1994.
New York then beat Boston in the playoffs, its first series victory since 2000, and general manager Steve Mills picked up next season's option year on Woodson's contract before this season began.
But the Knicks were saddled with some early injuries, including center Tyson Chandler's broken leg, and lacked the veteran leadership they enjoyed last season. Madison Square Garden chairman James Dolan was already considering replacing Woodson by December, when he met with Jackson at a holiday party and talked to him about coaching the team.
Carmelo Anthony praised his coach Thursday and even offered to back him publicly if necessary. But it was probably a clear sign Woodson wouldn't be back a few minutes later when Amare Stoudemire said the coach hadn't taken part in the exit meetings with players that Jackson and Mills held.
Woodson previously coached six seasons with the Atlanta Hawks, leading them to the playoffs in his final three seasons. He has a career record of 315-365.
Woodson went 109-79 with the Knicks, who hadn't even made the playoffs since 2004 before he led them there in 2012. But he lost one of his biggest supporters within the organization when general manager Glen Grunwald, Woodson's college teammate at Indiana, was surprisingly fired last September.
Players and fans sometimes grumbled during the season about Woodson's strategies as the defense regressed and the offense was inconsistent beyond Anthony, who plans to become a free agent in July. Chandler said there probably was some "disconnect" and "misunderstanding" at times.
"Coach Woodson put together a game plan for us on the basketball court and there were times we didn't totally buy into it," Stoudemire said last week.
Still, the Knicks nearly rallied to make the playoffs by winning 16 of their final 21 games. But Woodson, who said he and Jackson had only brief chats in Jackson's first month in charge, said before the season finale he knew the coach often takes the blame.
"Everyone in this franchise owes a great deal of gratitude to what Mike and his staff have done," Jackson said. "We wish him the best."
Follow Brian Mahoney on Twitter: http://www.twitter.com/Briancmahoney


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America can quickly find employment for willing-to-work job-seekers—by installing a nationwide Employers Responsibility Act. Its last seven provisions would read as follows:
(9) Employers refusing to hire would be required to pay an additional "crime tax."
Sociologists and criminologists agree that "the best cure for crime is a job." Thus, employers who refuse to hire contribute to a growing crime rate in this Nation. Such non-hiring employers would be required to pay an additional tax, which would be earmarked for agencies of the criminal justice system at State and Federal levels.
(10) The seeking of "economic incentives" by companies in return for moving to or remaining in cities/states would be strictly forbidden.
Such "economic incentives" usually:
- allow employers to ignore existing laws protecting employees from unsafe working conditions;
- allow employers to ignore existing laws protecting the environment;
- allow employers to pay their employees the lowest acceptable wages, in return for the "privilege" of working at these companies; and/or
- allow employers to pay little or no business taxes, at the expense of communities who are required to make up for lost tax revenues.
(11) Employers who continue to make such overtures would be criminally prosecuted for attempted bribery or extortion:
- Bribery, if they offered to move to a city/state in return for "economic incentives," or
- Extortion, if they threatened to move their companies from a city/state if they did not receive such "economic incentives."
This would protect employees against artificially-depressed wages and unsafe working conditions; protect the environment in which these employees live; and protect cities/states from being pitted against one another at the expense of their economic prosperity.
(12) The U.S. Departments of Justice and Labor would regularly monitor the extent of employer compliance with the provisions of this act.
Among these measures: Sending undercover agents, posing as highly-qualified job-seekers, to apply at companies—and then vigorously prosecuting those employers who blatantly refused to hire despite their proven economic ability to do so.
This would be comparable to the long-time and legally-validated practice of using undercover agents to determine compliance with fair-housing laws.
(13) The Justice Department and/or the Labor Department would be required to maintain a publicly-accessible database on those companies that have been cited, sued and/or convicted for such offenses as:
- discrimination,
- harassment,
- health and/or safety violations or
- violating immigration laws.
Employers would be legally required to regularly provide such information to these agencies, so that it would remain accurate and up-to-date.
Such information would arm job applicants with vital information about the employers they were approaching. They could thus decide in advance if an employer is deserving of their skills and dedication.
As matters now stand, employers can legally demand to learn even the most private details of an applicant's life without having to disclose even the most basic information about themselves and their history of treating employees.
(14) CEOs whose companies employ illegal aliens would be held directly accountable for the actions of their subordinates. Upon conviction, the CEO would be sentenced to a mandatory prison term of at least 10 years.
This would prove a more effective remedy for controlling illegal immigration than stationing tens of thousands of soldiers on the U.S./Mexican border. With CEOs forced to account for their subordinates' actions, they would take drastic steps to ensure their companies complied with Federal immigration laws.
Without employers eager to hire illegal aliens at a fraction of the money paid to American workers, the invasions of illegal job-seekers would quickly come to an end.
(15) A portion of employers' existing Federal taxes would be set aside to create a national clearinghouse for placing unemployed but qualified job-seekers.
* * * * *
For thousands of years, otherwise highly intelligent men and women believed that kings ruled by divine right. That kings held absolute power, levied extortionate taxes and sent countless millions of men off to war—all because God wanted it that way.
That lunacy was dealt a deadly blow in 1776 when American Revolutionaries threw off the despotic rule of King George III of England.
But today, millions of Americans remain imprisoned by an equally outrageous and dangerous theory: The Theory of the Divine Right of Employers.
Summing up this employer-as-God attitude, Calvin Coolidge still speaks for the overwhelming majority of employers and their paid shills in government: "The man who builds a factory builds a temple, and the man who works there worships there."
America can no longer afford such a dangerous fallacy as the Theory of the Divine Right of Employers.
Americans did not win their freedom from Great Britain—and its enslaving doctrine of "the divine right of kings"—-by begging for their rights.
And Americans will not win their freedom from their corporate masters–-and the equally enslaving doctrine of "the divine right of employers"—-by begging for the right to work and support themselves and their families.
Corporations can—and do—spend millions of dollars on TV ads, selling lies—lies such as the "skills gap," and how if the wealthy are forced to pay their fair share of taxes, jobs will inevitably disappear.
But Americans can choose to reject those lies—and demand that employers behave like patriots instead of predators.


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In 2010, American philanthropists donated approximately $3.3 billion to charity – and 19 of the 53 top givers were Jews. George Soros ranked first with $332 million contributed in 2010.
New York City Mayor Michael Bloomberg was No. 2 with $279.2 million. Irwin and Joan Jacobs, Eli and Edythe Broad, and Leonard Blavatnik, respectively took places four through six, with $117 million to $119 million in donations.
But are American Jews not doing enough for other Jews? Stephen and Nancy Grand gave more than $20 million of their $28 million of their charitable donations in 2010 to the American Technion Society, that supports the Technion: Israel Institute for Technology. Whereas, Soros gave $1 million to World ORT in September, and Bloomberg gave a smaller donation to the Jewish Association for Services for the Aged, their gifts to Jewish organizations made-up a small proportion of their overall giving.
Hedge fund manager, William Ackman and his wife Karen gave away $59.3 million last year. At 44, Ackman is one of Wall Street's toughest players and a regular on the dais of the UJA-Federation of New York's annual Wall Street banquet. He made his most significant Jewish contribution in the past year, directing a move to bail out the Center for Jewish History in New York from its $30 million debt with a gift of $6.8 million.
Irwin Jacobs, founder of Qualcomm, gave a $100 million-plus San Diego Symphony with a $100 million-plus gift last decade, he and his wife, Joan, have chosen to give away most of their savings through a donor-advised fund at the Jewish Community Foundation of San Diego, where Joan Jacobs is a board member. Last year, they gave the fund $39.1 million, which will be spent on both Jewish and nonsectarian causes.
Here is the list of Jews gracing the Chronicle of Philanthropy's Philanthropy 50 top givers of 2010, with their rank and total philanthropic contributions in 2010:
George Soros, $332m
Michael R. Bloomberg, $279.2m
Irwin M. and Joan K. Jacobs, $119.5m
Eli and Edythe L. Broad, $118.3m
Leonard Blavatnik, $117.2m
Meyer and Renee Luskin, $100.5m
Marc R. and Lynne Benioff, $100m
Mark Zuckerberg, $100m
William A. and Karen Ackman, $59.3m
Charles E. Kaufman, $53.3m
Lawrence J. Ellison, $45.1m
Lee G. and Jane H. Seidman, $42m
Lin Arison, $39m
Herman Ostrow, $35m
Stephen and Nancy Grand, $28.1m
David M. Rubenstein, $26.6m
Paul and Daisy M. Soros, $25m
Iris Cantor, $20m
Richard A. and Susan P. Friedman, $20m


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2 blasts in Nigeria kill at least 118
JOS, Nigeria - Nigeria's emergency agency says twin car bombs that exploded at a bustling bus terminal and market in Nigeria's central city of Jos have killed at least 118 people.
There was no immediate claim of responsibility for the bombs, but they bore the hallmarks of Boko Haram, an Islamic extremist group that has been waging a bombing campaign in Africa's most populous nation.
Coordinator Mohammed Abdulsalam of the National Emergency Management Agency says fires are still raging in buildings and he expects to find more bodies when firefighters get them under control.
Tensions have been rising between Christians and Muslims in Jos, the capital of Plateau state in Nigeria's Middle Belt region that divides the country into the predominantly Muslim north and Christian south. It is a flashpoint for religious violence.
President Goodluck Jonathan condemned the attacks and said he remains "fully committed to winning the war against terror." Outrage continues to grow over his government's apparent inability to do that.


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FreeBSD Manual Pages
CHIO(1) FreeBSD General Commands Manual CHIO(1) NAME chio -- medium changer control utility SYNOPSIS chio [-f changer] command [-<flags>] arg1 arg2 [arg3 [...]] DESCRIPTION The chio utility is used to control the operation of medium changers, such as those found in tape and optical disk jukeboxes. The options are as follows: -f changer Use the device changer rather than the default device /dev/ch0. A medium changer apparatus is made up of elements. There are five ele- ment types: picker (medium transport), slot (storage), portal (import/ex- port), drive (data transfer), and voltag (select by volume identifier). The voltag pseudo-element type allows the selection of tapes by their volume tag (typically a barcode on the tape). In this command description, the shorthand ET will be used to represent an element type, and EU will be used to represent an element unit. For example, to represent the first robotic arm in the changer, the ET would be "picker" and the EU would be "0". SUPPORTED COMMANDS move _from ET_ _from EU_ _to ET_ _to EU_ [inv] Move the media unit from _from ET/EU_ to _to ET/EU_. If the op- tional modifier inv is specified, the media unit will be inverted before insertion. exchange _src ET_ _src EU_ _dst1 ET_ _dst1 EU_ [_dst2 ET_ _dst2 ET_] [inv1] [inv2] Perform a media unit exchange operation. The media unit in _src ET/EU_ is moved to _dst1 ET/EU_ and the media unit previously in _dst1 ET/EU_ is moved to _dst2 ET/EU_. In the case of a simple exchange, _dst2 ET/EU_ is omitted and the values _src ET/EU_ are used in their place. The optional modifiers inv1 and inv2 spec- ify whether the media units are to be inverted before insertion into _dst1 ET/EU_ and _dst2 ET/EU_ respectively. Note that not all medium changers support the exchange operation; the changer must have multiple free pickers or emulate multiple free pickers with transient storage. return _from ET_ _from EU_ Return the media unit to its source element. This command will query the status of the specified media unit, and will move it to the element specified in its source attribute. This is a conve- nient way to return media from a drive or portal to its previous element in the changer. position _to ET_ _to EU_ [inv] Position the picker in front of the element described by _to ET/EU_. If the optional modifier inv is specified, the media unit will be inverted before insertion. Note that not all changers behave as expected when issued this command. params Report the number of slots, drives, pickers, and portals in the changer, and which picker unit the changer is currently config- ured to use. getpicker Report which picker unit the changer is currently configured to use. setpicker _unit_ Configure the changer to use picker _unit_. ielem [_timeout_] Perform an INITIALIZE ELEMENT STATUS operation on the changer. The optional _timeout_ parameter may be given to specify a time- out in seconds for the operations. This may be used if the oper- ation takes unusually long because of buggy firmware or the like. voltag [-fca] _ET_ _EU_ [_label_] [_serial_] Change volume tag for an element in the media changer. This com- mand is only supported by few media changers. If it is not sup- ported by a device, using this command will usually result in an "Invalid Field in CDB" error message on the console. If the -c flag is specified, the volume tag of the specified ele- ment is cleared. If the -f flag is specified, the volume tag is superseded with the specified volume tag even if a volume tag is already defined for the element. It is an error to not specify the -f flag when trying to set a label for an element which al- ready has volume tag information defined. The command works with the primary volume tag or, if the -a flag is given, with the alternate volume tag. status [-vVsSbIa] [_type_] Report the status of all elements in the changer. If _type_ is specified, report the status of all elements of type _type_. -v Print the primary volume tag for each loaded medium, if any. The volume tag is printed as "<LABEL:SERIAL>". -V Print the alternate volume tag for each loaded medium, if any. -s Print the additional sense code and additional sense code quali- fier for each element. -S Print the element source address for each element. -b Print SCSI bus information for each element. Note that this in- formation is valid only for drives. -I Print the internal element addresses for each element. The in- ternal element address is not normally used with this driver. It is reported for diagnostic purposes only. -a Print all additional information (as in -vVsSba). The status bits are defined as follows: FULL Element contains a media unit. IMPEXP Media was deposited into element by an outside human operator. EXCEPT Element is in an abnormal state. ACCESS Media in this element is accessible by a picker. EXENAB Element supports passing media (exporting) to an outside human operator. INENAB Element supports receiving media (importing) from an outside hu- man operator. ENVIRONMENT CHANGER The default changer may be overridden by setting this environ- mental variable to the desired changer device. FILES /dev/ch0 default changer device EXAMPLES chio move slot 3 drive 0 Move the media in slot 3 (fourth slot) to drive 0 (first drive). chio move voltag VOLUME01 drive 0 Move the media with the barcode VOLUME01 to drive 0 (first drive). chio return drive 0 Remove the tape from drive 0 (first drive) and return it to its original location in the rack. chio setpicker 2 Configure the changer to use picker 2 (third picker) for opera- tions. SEE ALSO mt(1), mount(8) HISTORY A chio utility appeared in NetBSD 1.3. chio first appeared in FreeBSD 2.2. AUTHORS The chio program and SCSI changer driver were written by Jason R. Thorpe <firstname.lastname@example.com> for And Communications, http://www.and.com/. Additional work by Hans Huebner <firstname.lastname@example.com> and Steve Gunn <firstname.lastname@example.com>. FreeBSD 13.0 October 5, 2016 FreeBSD 13.0
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by Melissa D. Johnston
It's not often you're able to get the story behind a groundbreaking collaborative artistic project, so when I got the chance to interview the artists behind "Year of Glad," I immediately took it. "Year of Glad," which premieres this Saturday, April 16, at Roosevelt University in Chicago, is a song cycle composed by Patrick Greene for the coloratura soprano Joelle Kross, inspired by poet Jenni B. Baker's Erasing Infinite poems. Baker's poems, which also provide the lyrics for "Year of Glad," are poems formed by erasing words from each page of David Foster Wallace's Infinite Jest. (Jenni shared her project to Creative Thresholds readers in 2014 with "Erasing Infinite Jest: Five Poetic Approaches.") The spirit of Wallace suffuses "Year of Glad" and the process of its creation.
Patrick, Joelle, and Jenni give a rich account of what it means to be an artist working with other artists in today's world. They speak of the value and freedom that constraint can bring to the act of creation, the role of love and grief in art, the joy and excitement of collaboration, the challenge and fecundity of working in many genres/media, and what inspires them in the work of David Foster Wallace. They have inspiring and wise words for all of us who hunger to create and especially for those of us who long to create with others.
Update May 13, 2016: Here is the live recording from the premiere:
Tell us about your journey as an artist. Who or what influenced you the most? What provides your primary source of inspiration? What aspirations do you have for the future?
PATRICK: I didn't start "seriously" composing until I was in college; prior to that, I was primarily a singer: boy soprano, musical-theater tenor, rock-band frontman, etc. In the spring of my first undergraduate year, I heard a visiting string quartet perform Maurice Ravel's Quartet in F Major, and the thing seriously changed my life. I've been writing music ever since.
I've always drawn inspiration from a variety of sources; poetry's one of my favorites. I've set texts by Eliot, Ammons, Crane, Poe, Cummings, Sappho, you name it. Until last year, however, I (somehow) hadn't worked with a living poet. That changed when I collaborated with W. S. Di Piero on Come Soon, You Feral Cats, a setting of poems from his recent Tombo (McSweeney's). It was a tremendously edifying, enjoyable process, and led me to seek out a living poet for my next text-setting project – Jenni Baker.
David Foster Wallace has influenced me just as deeply as any composer. My first reading of Infinite Jest was a transformative experience, and it's stayed with me in a very deep place ever since. I think eclecticism is a fundamental part of my aesthetic; we're lucky to exist in a time characterized by the dissolving of barriers, and I try to incorporate that into my music wherever I can. One of the reasons I enjoy reading his work is that I feel like we share stylistic priorities: to be complex yet sincere; to be elevated yet vernacular; to be formally playful yet structurally rigorous. He's definitely emboldened me to compose in a way that feels honest.
My chief aspiration is to continue to collaborate with interesting people on worthwhile projects, and to find new ways of challenging myself to stay artistically relevant while creating a diverse, non-duplicative body of work.
JOELLE: I started in musical theatre and choirs in elementary school and went to college for acting with minors in voice and French. But as I had more classical voice instruction and sang in opera ensembles, I began to realize that was where I wanted to be. It's so much more comfortable in my voice, and my vocal and character types match a lot better in opera than musical theatre. The big moment was when I was studying abroad in London and joined the London Philharmonic Choir for a performance of Mahler's Resurrection symphony and just knew classical music was it.
My inspiration comes first from the gorgeous music I get to sing and hear all the time. I've been especially lucky over the last year and a half to be back in grad school and surrounded by inspiration from the music, my amazing colleagues, and the incredible teachers I'm studying with.
Aspirations for the future is a timely question, since I graduate in a month! I hope to someday make my entire living from only singing. I'm not terribly picky about what form that takes – opera, concerts, choral, weddings, whatever. I may try the sort of "standard" track of getting into a young artist program apprenticeship with an opera company, then get into a better one, then get into an even better one, then "have a career," but maybe not. A European audition tour may also be on the horizon; they have smaller opera houses there and tend to favor lighter voices like mine.
JENNI: Over time, I've come to discover that, for me, writing under constraint leads to greater creativity. The constraint can take various shapes – you can limit yourself to text written by others, to a specific source text, to specific letters of the alphabet, to specific concepts, to specific forms, and so on. In Erasing Infinite, I constrain myself to a single page at a time from a single source text using a single procedure (erasure). In other work, I've experimented with constraints made popular by the Oulipo group and played around with more conceptual approaches – for example, pulling out phrases from a podcast transcript that start with the same words – to craft a piece. I'm always looking for new source texts and new approaches to try.
There are a lot of people dipping their toes into the experimental writing field right now. It's easy to write under an easy constraint, and this is alluring to both writers and publishers. I'm inspired by the obsessives, the writer who construct difficult mazes they must compose their way out of. Christian Bök spent seven years writing Eunoia, a book composed of chapters written entirely of words with single vowels. Doug Nufer wrote a 200 page novel, Never Again, where he never repeats a single word. I admire that kind of focus, that singular pursuit.
I'm also very interested in how writers are leveraging the Internet to do new things with their work. I love the poetry bots, the hypertexts. Look at the companion website to Collier Nogues' The Ground I Stand On Is Not My Ground. Cool, right? I want to do more in this space.
What's the story behind "Year of Glad?" How did it originate and what did the creative process look like for each of you?
JENNI: I began work on Erasing Infinite in late 2013 as an act of homage to Wallace, posting the poems as I completed them on the project's website. All along, I hoped the project would have additional incarnations – I could see, for example, a book length manuscript, a gallery exhibit of selected prints, and erasure poetry workshops. I can truthfully say that the idea of a musical interpretation of the work never crossed my mind! In early 2015, I received an email from Patrick, proposing the idea, and I loved it from the beginning. My job at that point was to just say "yes," and step back to allow Patrick the space for his own creative work and interpretation.
PATRICK: Joelle mentioned that she'd like me to compose something for her recital, and I immediately said "yes" – she's a dear friend and a terrific artist, and this project would give me a great excuse to visit Chicago. We agreed to keep our eyes open for texts to set.
Then, a few months later (March 2015, I believe), one of the DFW websites I frequent (The Howling Fantods) posted one of Jenni's poems ("No More," from p. 222) to Facebook. It was perfect. It "worked" as a poem on its own merits, and yet it refracted the text of this book that'd meant so much to me for so many years and afforded me the rare opportunity to look at it from a different angle. I contacted Jenni, who was extremely nice about the whole thing; ran it by Joelle, who was game enough to literally read the whole novel before her recital; and set about developing a form that I thought would work.
I think I'm inherently a narrative-driven artist, for better or worse. Even if the story isn't immediately graspable to the audience – even if it's just something implicit, something only I know about it – it helps me to channel my ideas and energies in the direction of communicating something. Since there's this grand tradition of soprano-and-piano song cycles (epitomized by the German lieder of the nineteenth century), I thought it'd be fun to take this thoroughly modern material (new poetry from a relatively new work of literature set to music written in 2015-16) and stretch it over a traditional framework. So then the challenge was culling down the, like, 150 poems that I wanted to set to a manageable assemblage that'd fit into the fifteen minutes allotted to the project in Joelle's recital.
Then it became a matter of following the flows of the poems and seeing what they wanted to sound like as music. I looked for moments of thematic crossovers and elisions, and tied them together with motivic tools that served to make the whole thing feel like a single, unified piece.
Joelle was instrumental in all of this, of course; she was workshopping much of it as I was writing it, so I was able to guide the piece based on her (very helpful) feedback.
JOELLE: I met Patrick through his wife Micah several years ago when we were auditioning and performing together in Boston – I was actually one of their bridesmaids and now I am proud to call myself the crazy spinster aunt of their son Jude, who is the coolest 2-year-old in the world. I've always loved Patrick's compositions, especially his vocal writing. As I was starting my grad program I asked him if he'd be interested in composing something for my masters recital. A few months later, I got an excited 6 a.m. text from him – he had found Jenni's poems and wanted to set them! I immediately started reading Infinite Jest with the hope of actually finishing it before the recital, and I'm proud to say I finished it just two weeks ago!
Since I sing a lot of music that was written about 150 to 300 years ago, having the chance to be involved in the actual creation of a work, as opposed to more the interpretation of it, was really exciting. Patrick knows me the person and me the voice (as a singer, it is often extremely difficult to separate the two!) really well. Then we were also in pretty constant communication about how the work was shaping up – from basic things like how long it needed to be to satisfy the recital requirement, or how tired I was going to be by the time I sing it, to more exciting discussions about finding the musical and dramatic arcs. He also asked me to pick one of Jenni's poems for one of the central movements. And then as I worked on it, primarily with my coach, then voice teacher, then recital accompanist, I would circle back with Patrick about things like an easier way to set the text or a better place to breathe.
I find it funny to think about how music scholarship and research will change as the technology of primary sources changes. Like someday on the music library shelf next to "Collected Letters of Strauss and Hofmannsthal 1900-1916" or whatever, you'll see "Selected Emails, Texts, and Blog Posts of Patrick Greene". But that's how this piece was created!
In an interview with Larry McCaffery in the "Review of Contemporary Fiction" (and as Jenni points out in an interview), David Foster Wallace says, "Fiction's about what it is to be fucking human." Is there an aspect of being human that you especially connect with in Infinite Jest? Do you believe that what Wallace says about fiction here applies to your own practice of art?
JOELLE: Absolutely. I was on a train on Christmas Day when I read the passage about American society treating anhedonia as "hip and cool," in opposition and in fear of and in secret longing for the messiness of actually being human. I gasped and flailed at my boyfriend next to me and made him take out his earbuds and read it too. I think Wallace got it absolutely right, and I love that Patrick has updated the emotional arc of Schumann's Frauenliebe und -Leben to include some more of that messiness. It's one of the things I love about being a musician and a singer specifically – the human voice moves people in such a unique way among the instruments. I always try to honor the very human impulse to connect and tell stories when I sing, and not just stand onstage and make pretty sounds.
PATRICK: Going off of what Joelle said: DFW's greatest influence on me, personally, is his taking a very strong stand against the very dark, anhedonic forces that are constantly beckoning to us. It's so much easier to just not give a shit, you know? It's so much simpler to live stuck in your "default settings" (as DFW beautifully articulated in This Is Water); it's a lot easier – and sometimes a lot sexier – to just sort of assume you're right, and that the world's actually a pretty simple place. And the path to that sort of mindset is paved in denying yourself human, deep experiences. In Infinite Jest specifically, every one of the main (and semi-main) characters is a fully fleshed-out person. They are complex and mercurial, and they aren't what they appear to be on their surfaces. And that's the way we all are, right? And if we're aware of each other's complexities, we're suddenly treating each other like human beings. We're a little bit less alone.
JENNI: At the root of Wallace's comment about "what it is to be a fucking human being" is this understanding that we are all multidimensional and complex human beings. Infinite Jest is a book about the search for happiness, and all of the sadness and self-questioning that goes along with that quest. It follows characters who alternately embrace and reject the entertainments and addictions (and addictions to entertainment) that promise relief from that sadness and self-questioning.
I think the people who really connect to Wallace (myself included) do so because they recognize these struggles in themselves. Which is not to say we're all sad, depressed people – there's a difference between realizing your struggles and being consumed by them. When I'm sad or anxious, I can spend an entire day sitting in the movie theater or lying on the couch binge watching entire series of shows on Netflix. Now, I'm self-aware enough to know these activities are distractions, attempts to deactivate the think, but I can still connect with the characters in the book who lack that awareness and take their entertainments too far.
Some of my poetry certainly addresses human emotions and experiences, though I wouldn't necessarily call that my purpose or aim. If something I write makes someone think, "Yes! I feel that way too!," that's certainly great. But I also embrace the practice playing with language and form for its own sake. Maybe Wallace would say I'm not creating real "art," but I'm okay with that.
Especially for our readers who don't know the work of David Foster Wallace or Infinite Jest, could you share the reason you chose the title "Year of Glad?"
JENNI: In Infinite Jest, Wallace conceives of a future with "subsidized time," where corporations sponsor the year. Gone is our numerical way of numbering the years, and instead we get years like "Year of the Depend Adult Undergarment" and "Year of the Perdue Wonderchicken." Each year, the Statue of Liberty gets new accoutrements to reflect that year's sponsor (including a giant diaper in YDAU). In the book, "Year of Glad" literally refers to the year subsidized by Glad, maker of sandwich and trash bags. It's the first chapter of Infinite Jest and the last, sequentially, in the novel's timeline. But it has a nice figurative ring to it, doesn't it? A "year of glad" — who doesn't want one of those?
PATRICK: Exactly! I've always found the idea of "subsidized time" sort of hilarious, and Year of Glad in Infinite Jest is something of an annus mirabilis. Also, I'm just immensely grateful this whole shebang materialized in the first place.
JOELLE: I was just sort of along for the ride on this one! I didn't address it in my program notes either. I kind of like that the title will mean different things to my audience whether or not they are familiar with the novel.
In "Year of Glad," each of you has worked within a set of constraints as an artist—not just because it's a collaboration but also because the nature of the work is cumulative. Each artist works within the framework(s) provided by the artist(s) before. How did you negotiate artistic freedom and creativity in relationship to the project?
JENNI: Every piece of creative work has its influences, its inspirations. With "Year of Glad," our lineages and connections are just more exposed. I go back to what I said earlier about finding creativity in constraint – that's so clear here with this collaboration. We were each handed something to work with, and used our own talents (writing, composing and performing) to interpret it and make it new.
Turning Infinite Jest into poetry is both an easy and challenging task. It's easy in that the book contains a plethora of characters and voices to work with. It contains great varieties of of dialogue and description. The palette is large, so to speak. At the same time, David Foster Wallace is "Saint Dave" for many, and Infinite Jest a holy text. If I'm going to create poetry from it — an act in and of itself that some see as sacrilege — it can't just be a poetic retelling of the book. Nobody wants to read that. So there's a challenge to do something that's more authentic to my experience and my voice as a poet.
As far as our "Year of Glad" work goes, I trusted Patrick to incorporate the poems into his composition as he saw fit and didn't try to exact any influence that front. To put it another way: I wouldn't have wanted Wallace (if he were alive) to be directing or setting parameters on what I create from Infinite Jest. So I wanted to extend Patrick that same freedom and courtesy.
PATRICK: I'm definitely in the Jenni camp on this front: I really love working within very specific constraints. Knowing there's a "before" – Jenni's poetry – and an "after" – Joelle's premiere – took a ton of pressure off. I knew exactly where I fit in, and I felt relatively free to take my portion of things in whatever direction it wanted to go. I just knew that I had to completely respect two things: the words and the performance needs.
JOELLE: Being a singer and an actor for me can sometimes feel a little divorced from the creative process – I'm not actually writing the words or the music, or even with some directors, really creating my own physical or vocal interpretation of a character (I do not like those directors). As I've prepared this piece, and all the other music on my recital, I've tried to keep in mind that the singer's interpretation is the extra dimension that gets the words and music off the page. Patrick's score is beautifully designed, but this piece wants to be heard! It also feels empowering to know that Patrick trusts me as an artist and supports the interpretive choices I've made. And though he wrote it with my voice in mind, the next person who sings it will create an entirely different performance, because she will connect with it in her own unique way.
"Year of Glad" originated with Jenni's erasure poetry, which was meant to be a celebration and tribute to the life of David Foster Wallace in the wake of his death. The structure of "Year of Glad" mirrors Robert Schumann's Frauenliebe und –leben, a song cycle about love that ends with death and mourning. Do you believe "Year of Glad" as a whole is one of both love and mourning? Can creativity function as a practice of both?
PATRICK: Year of Glad is an ode to living life boldly and bravely. The final movement – which took literally, like, four times as long to compose as any of the others – is an exhortation of sorts: she is telling the audience, as an old woman (the piece progresses chronologically, a la Frauenliebe), what she's learned. And what she's learned is that a loss can be a beautiful thing, because it means you've found something in the first place. She's saying we should get off our asses and trust that we'll figure it out.
JOELLE: I think both love and mourning, which really is another form of love, are so central to the human experience that it's tough to create something that is not related in some way to one or the other. When I think about my whole recital program, which is 60 minutes of music by six composers in four languages spanning four centuries, it's all there – love of God, a lament for a departed loved one, maternal love, love of nature, nostalgia for a lost homeland, and above all, love of love itself. And while Schumann's cycle ends in mourning, Patrick's final movement pretty joyfully transcends it and celebrates a love that was worth it.
JENNI: I think Joelle has it right when she says that mourning is another form of love. After Wallace's passing, McSweeney's put together a collection of reflections from those who knew him and who were impacted by his work, called "Memories of David Foster Wallace." Read through that page: it's all love. Also, isn't the majority of art — in all its iterations — about either loving a person, place or thing, or missing that person, place or thing? You love somebody, you miss somebody. You love that mountain outside your window, you reminisce about the time when you had a mountain outside your window. (You get the point.) Indifference and ambivalence aren't very good instigators for art.
Do you have any words of wisdom for artists who want to collaborate?
JOELLE: I don't think you can be an artist and not collaborate. The 19th century Romantic solitary genius Artist, if it ever really was a thing, is over. Contemporary lives are so connected. I think it's really important to know yourself first – how you like to work, what you bring to the table and what your weaknesses are. Then try to find other artists who complement that, figure out what you want to say, and do it! I also have to echo Jenni's sentiment of saying yes. Since moving to Chicago I've really tried to embrace the pervasive "yes and" spirit that comes from the huge improv scene here. I've found it a really fulfilling way to make art and to live in general.
JENNI: You've got to find your creative kindred. Find the people who want to make cool stuff more than they want to make money. If someone wants to charge you to use their work, or you're charging someone to use theirs, it's not a collaboration – it's a business transaction.
Good collaborations should raise all boats, with everyone involved standing to benefit equally from the exchange. Patrick, Joelle and I are at relatively similar points in our respective careers, which helps. Nobody is in a position of power over another. Everybody's intentions are good. We share in any publicity and, most of all, get to put something new out into the world. It works from all angles.
Ultimately, if you want to collaborate with people, ask. How many awesome projects go undone because one party was afraid to ask the other? Oh, and if people ask you to collaborate, say yes.
PATRICK: My best piece of advice is just do it. There is nothing to be lost in trying. If you stumble across something on the internet that hits you the right way, send that email. The worst thing that can happen – and I really mean this – is that the person who's inspired you can't take on the project, but is left knowing that his or her work touched somebody. The best thing that can happen is Year of Glad.
The creative world is simultaneously larger and smaller than it's ever been. There are more artists alive and working today than have ever existed at any point in time in the history of our species, and yet we're all just a few keystrokes away from each other. It's amazing! And we can all complain endlessly about how the system isn't set up to support us, but in some very tangible ways we're actually more empowered than we've ever been to create awesome, lasting, relevant, multivariate art that can come together to change the world.
But these things don't happen unless we harness the fact that we're all out there to begin with. So just ask. Reach across that electronic threshold and make a human connection.
Thank you so much, Jenni, Patrick, and Joelle!
Jenni B. Baker is a poet and editor based in Bethesda, MD. She is the founder and editor-in-chief ofThe Found Poetry Review, a literary journal that publishes experimental forms of poetry including found, erasure, constraint-based and conceptual pieces. In her multi-year project, Erasing Infinite, she creates poems via erasure from David Foster Wallace's 1,076-page text, Infinite Jest, one page at a time. Her chapbook, Comings / Goings, a collection of poems generated by applying Oulipian constrained writing techniques to Washington Post articles, was released in 2015. Her poetry has been featured in journals such as DIAGRAM, BOAAT, Quarterly West, Washington Square andLunch Ticket. For more information, stop by her website or follow her on Twitter.
A composer, singer, and sound designer, Patrick Greene (b. 1985) is a rising artist in the world of contemporary art music.
Hailed by The New York Times as a composer of "enticing" works, Mr. Greene's music has been described as "shimmering" (New Music Box), "unearthly" (The New York Times), and constructed with "true musicality" (Boston Musical Intelligencer). Recent engagements include performances by Boston Musica Viva, the Atlanta Chamber Players, the New Haven Symphony Orchestra, loadbang ensemble, Christopher Houlihan, Transient Canvas, Balletik Duo, and many others.
His theatrical sound design has been called "disturbingly real" and "memorable" (ArtsImpulse). Recent design projects include the Boston premiere of Cassie Seinuk's Eyes Shut. Door Open. (Wax Wings Productions) and D.W. Gregory's Radium Girls (Flat Earth Theatre).
Patrick's abstractEXTRACTION won the 2010 Rapido! New England Competition (and took the Audience Prize at National Finals in 2011). In 2014, he was Guest Composer at the inaugural Birmingham New Music Festival, and, in 2015, his My Dearest Friend earned a C7Prize as a "Recommended Work." Most recently, the St. Botolph Club Foundation selected Patrick for the 2015 Emerging Artist Award.
Mr. Greene earned his MM degree in Composition from The Boston Conservatory in May 2010, where he studied with Andy Vores and Dalit Warshaw. He graduated with a BA in Music from Trinity College in 2007, as a student of Gerald Moshell, Douglas Bruce Johnson, and John Rose.
Patrick is a member of the Society for Music Theory, the American Composers' Forum, CompositionToday.com, and the Society of Composers, Inc. He is also a founding member of the Fifth Floor Collective and the Equilibrium Concert Series.
He lives with his wife (the actress Micah Greene) and son in Lincoln, Massachusetts, where he serves on the town's Cultural Council.
Joelle Kross, coloratura soprano, is currently pursuing an MM in Voice Performance at the Chicago College of Performing Arts at Roosevelt University, where she studies with Judith Haddon. Praised as "a vocal knockout" (Hub Review) and "petite, spritely, and utterly delightful in every scene" (Theater Mirror), Joelle has performed extensively in the opera and musical theatre communities in her hometown of Boston. She has appeared with Boston Midsummer Opera, MetroWest Opera, Lyric Stage, Gloucester Stage, Wheelock Family Theatre, Hanover Theatre, and Reagle Music Theatre. Recent opera roles include Le Feu/Le Rossignol inL'enfant et les sortilèges, Amore in L'incoronazione di Poppea, and the Fairy Maiden in the world premiere of Heidi Joosten's chamber opera Connla and the Fairy Maiden. She is thrilled to present the premiere of Patrick Greene's song cycle Year of Glad, with settings of erasure poetry by Jenni B. Baker from David Foster Wallace's Infinite Jest.


text: It's easy to understand why students feel Carnegie Mellon is "one of the brightest universities in the country." After all, the university offers "unlimited opportunities for academic exploration and mastery." Indeed, CMU undergrads value "the interdisciplinary nature of many departments here" as it certainly "enhances [their] education." One individual elaborates, "I like that it allows students of different majors to collaborate and get to know each other, expanding general knowledge" in the process. Academically, the engineering and computer science programs are popular and "rank very highly." Another student shares, "The curriculum is very advanced in all the STEM courses so people graduate with the most up to date knowledge and skills." Though the vast majority of classes at CMU are in the 10-19 student range, some students observe that "lower-level classes tend to be large lectures." That said, classes overall put a "huge focus on problem-solving, rather than memorization," which students appreciate. And while some admit there are some courses "incredibly difficult and at many times overwhelming," the overall "academic experience itself [is] enriching." And for many, a few grueling classes is worth it, as "CMU is very well-connected to many industries and organizations, and it is very feasible for CMU students to use the university as a launching pad into their interests."


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See The Fish In My Head
HSU AND ELSEWHERE – Do you have a fish in your head? What does it look like? Where does it go?
For its 32nd annual touring holiday show, Dell'Arte presents a one-of-a-kind theatrical storytelling spectacle celebrating the mysteries of the imagination. An all-original piece devised by the ensemble, The Fish in My Head is the story of an unpleasant man with a Machine that Makes Sense; his orderly, self-important life is overturned by the sudden appearance of a zany woman and her friend the Fish. Combining circus skills, physical comedy, music and song, The Fish In My Head is a show for all (appropriate for ages 4 and up).
The Fish in My Head tours through Dec. 16. With the goal of making this family entertainment available to both rural and urban communities that rarely see live professional theatre, venues range from large professional theatres to local elementary school cafeterias. Admission is free for most of the performances, thanks to sponsorships by Wildberries Marketplace, Pierson Building Center, Stephany Joy of RE/MAX Humboldt Realty, Moore's Sleep World, Green Diamond Resource Company & The California Redwood Company, and Ironside Metal Works. The audience is asked to contribute non-perishable food items, which are donated to local food banks.
Free tickets can be picked up at Wildberries Marketplace, Moore's Sleep World, and Pierson Building Center, or in person at the DAI Box office and will be available at the venues before each performance.
See The Fish in My Head free at the Van Duzer Theatre on Wednesday, Nov. 28 at 7:30 p.m. dellarte.com


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The main card is set for Resurrection Fighting Alliance's first nationally televised event.
RFA 4 takes place Nov. 2 at Texas Station Gambling Hall & Hotel in Las Vegas, and the main card airs on AXS TV.
With an injury to headliner Gilbert Yvel, lightweights and former UFC fighters Tyson Griffin (15-6) and Efrain Escudero (18-5) now fight in the new main event.
As MMAjunkie.com (www.mmajunkie.com) reported this past week, would-be headliner Yvel (38-16-1) scratched from the card for undisclosed reasons. His original opponent, Marcio "Pe de Pano" Cruz (7-3), now will fight replacement light heavyweight Joe Yager (5-0). Their fight has third billing on the card.
In the co-headliner, fast-rising striker Chidi Njokuani (8-3), the brother of UFC/WEC veteran Anthony Njokuani, looks to continue his 6-1 run when he meets surging welterweight Phil Dace (8-2), who's won five straight.
Also on the main card are featherweights Lance Palmer (4-0) vs. Fredson Paixao (10-4), lightweights Guilherme Trindade (8-0) vs. James Krause (16-4), lightweights Derrick Burnsed (10-2) vs. Dakota Cochrane (12-3), and bantamweights Sergio Pettis (5-0) vs. Jimmy Jones (4-1).
RFA currently is closing its acquisition and absorption of Titan Fighting Championship, which netted the organization the AXS TV deal.
The full RFA 4 card includes:
- Efrain Escudero vs. Tyson Griffin
- Phil Dace vs. Chidi Njokuani
- Marcio "Pe de Pano" Cruz vs. Joe Yager
- Fredson Paixao vs. Lance Palmer
- James Krause vs. Guilherme Trindade
- Derrick Burnsed vs. Dakota Cochrane
- Jimmy Jones vs. Sergio Pettis
- Chris Holdsworth vs. Tyler Shinn
- Steve Mocco vs. Tyler Perry
- Cory Galloway vs. Jerry Shapiro
- Joey Angelo vs. Jordan Isordia
For more on Resurrection Fighting Alliance 4, stay tuned to the UFC Rumors section of the site.
(Pictured: Efrain Escudero)