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VSCP framework
v0.6.0
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The core uses the persistent memory driver to store important data in non-volatile RAM, e.g. More...
Macros | |
| #define | VSCP_PS_ADDR_BASE 0 |
| Base address of all VSCP related data in the persistent memory. More... | |
| #define | VSCP_PS_ADDR_BOOT_FLAG (VSCP_PS_ADDR_BASE + 0) |
| Address of the boot flag in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_BOOT_FLAG 1 |
| Size of the boot flag in byte. | |
| #define | VSCP_PS_ADDR_NICKNAME (VSCP_PS_ADDR_BOOT_FLAG + VSCP_PS_SIZE_BOOT_FLAG) |
| Address of the nickname id in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_NICKNAME 1 |
| Size of nickname id in byte. | |
| #define | VSCP_PS_ADDR_SEGMENT_CONTROLLER_CRC (VSCP_PS_ADDR_NICKNAME + VSCP_PS_SIZE_NICKNAME) |
| Address of the segment controller CRC in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_SEGMENT_CONTROLLER_CRC 1 |
| Size of segment controller CRC in byte. | |
| #define | VSCP_PS_ADDR_NODE_CONTROL_FLAGS (VSCP_PS_ADDR_SEGMENT_CONTROLLER_CRC + VSCP_PS_SIZE_SEGMENT_CONTROLLER_CRC) |
| Address of the node control flags in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_NODE_CONTROL_FLAGS 1 |
| Size of node control flags in byte. | |
| #define | VSCP_PS_ADDR_USER_ID (VSCP_PS_ADDR_NODE_CONTROL_FLAGS + VSCP_PS_SIZE_NODE_CONTROL_FLAGS) |
| Address of the user id in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_USER_ID 5 |
| Size of user id in byte. | |
| #define | VSCP_PS_ADDR_GUID (VSCP_PS_ADDR_USER_ID + VSCP_PS_SIZE_USER_ID) |
| Address of the GUID in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_GUID VSCP_GUID_SIZE |
| Size of the GUID in byte. | |
| #define | VSCP_PS_ADDR_NODE_ZONE (VSCP_PS_ADDR_GUID + VSCP_PS_SIZE_GUID) |
| Address of the node zone in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_NODE_ZONE 1 |
| Size of the node zone in byte. | |
| #define | VSCP_PS_ADDR_NODE_SUB_ZONE (VSCP_PS_ADDR_NODE_ZONE + VSCP_PS_SIZE_NODE_ZONE) |
| Address of the node sub zone in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_NODE_SUB_ZONE 1 |
| Size of the node zone in byte. | |
| #define | VSCP_PS_ADDR_MANUFACTURER_DEV_ID (VSCP_PS_ADDR_NODE_SUB_ZONE + VSCP_PS_SIZE_NODE_SUB_ZONE) |
| Address of the manufacturer device id in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_MANUFACTURER_DEV_ID 4 |
| Size of the manufacturer device id in byte. | |
| #define | VSCP_PS_ADDR_MANUFACTURER_SUB_DEV_ID (VSCP_PS_ADDR_MANUFACTURER_DEV_ID + VSCP_PS_SIZE_MANUFACTURER_DEV_ID) |
| Address of the manufacturer sub device id in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_MANUFACTURER_SUB_DEV_ID 4 |
| Size of the manufacturer sub device id in byte. | |
| #define | VSCP_PS_ADDR_MDF_URL (VSCP_PS_ADDR_MANUFACTURER_SUB_DEV_ID + VSCP_PS_SIZE_MANUFACTURER_SUB_DEV_ID) |
| Address of the MDF URL in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_MDF_URL 32 |
| Size of the MDF URL in byte. | |
| #define | VSCP_PS_ADDR_STD_DEV_FAMILY_CODE (VSCP_PS_ADDR_MDF_URL + VSCP_PS_SIZE_MDF_URL) |
| Address of the standard device family code in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_STD_DEV_FAMILY_CODE 4 |
| Size of the standard device family code in byte. | |
| #define | VSCP_PS_ADDR_STD_DEV_TYPE (VSCP_PS_ADDR_STD_DEV_FAMILY_CODE + VSCP_PS_SIZE_STD_DEV_FAMILY_CODE) |
| Address of the standard device type in the persistent memory. More... | |
| #define | VSCP_PS_SIZE_STD_DEV_TYPE 4 |
| Size of the standard device type in byte. | |
| #define | VSCP_PS_ADDR_LOG_ID (VSCP_PS_ADDR_STD_DEV_TYPE + VSCP_PS_SIZE_STD_DEV_TYPE) |
| Address of the log id (stream id), used by the VSCP logger. | |
| #define | VSCP_PS_SIZE_LOG_ID 1 |
| Size of the log id (stream id) in byte. | |
| #define | VSCP_PS_ADDR_DM (VSCP_PS_ADDR_LOG_ID + VSCP_PS_SIZE_LOG_ID) |
| Address of the decision matrix (standard) | |
| #define | VSCP_PS_SIZE_DM (VSCP_CONFIG_DM_ROWS * VSCP_DM_ROW_SIZE) |
| Size of the decision matrix (standard) in byte. | |
| #define | VSCP_PS_ADDR_DM_EXTENSION (VSCP_PS_ADDR_DM + VSCP_PS_SIZE_DM) |
| Address of the decision matrix extension. | |
| #define | VSCP_PS_SIZE_DM_EXTENSION (VSCP_CONFIG_DM_ROWS * VSCP_DM_ROW_SIZE) |
| Size of the decision matrix extension in byte. | |
| #define | VSCP_PS_ADDR_DM_NEXT_GENERATION (VSCP_PS_ADDR_DM_EXTENSION + VSCP_PS_SIZE_DM_EXTENSION) |
| Address of the decision matrix next generation. | |
| #define | VSCP_PS_SIZE_DM_NEXT_GENERATION VSCP_CONFIG_DM_NG_RULE_SET_SIZE |
| Size of the decision matrix next generation in byte. | |
| #define | VSCP_PS_ADDR_NEXT (VSCP_PS_ADDR_DM_NEXT_GENERATION + VSCP_PS_SIZE_DM_NEXT_GENERATION) |
| Next available address after all VSCP related data. More... | |
Functions | |
| void | vscp_ps_init (void) |
| This function initializes the persistent memory access module. More... | |
| uint8_t | vscp_ps_readBootFlag (void) |
| This function reads the boot flag from persistent memory. More... | |
| void | vscp_ps_writeBootFlag (uint8_t bootFlag) |
| This function writes the boot flag to persistent memory. More... | |
| uint8_t | vscp_ps_readNicknameId (void) |
| This function reads the nickname id of the node form the persistent memory. More... | |
| void | vscp_ps_writeNicknameId (uint8_t nickname) |
| This function writes the nickname id of the node to the persistent memory. More... | |
| uint8_t | vscp_ps_readSegmentControllerCRC (void) |
| This function reads the stored segment controller GUID CRC from the persistent memory. More... | |
| void | vscp_ps_writeSegmentControllerCRC (uint8_t crc) |
| This function writes the segment controller GUID CRC to the persistent memory. More... | |
| uint8_t | vscp_ps_readNodeControlFlags (void) |
| Read the node control flags from persistent memory. More... | |
| void | vscp_ps_writeNodeControlFlags (uint8_t value) |
| Write the node control flags to persistent memory. More... | |
| uint8_t | vscp_ps_readUserId (uint8_t index) |
| Read byte. More... | |
| void | vscp_ps_writeUserId (uint8_t index, uint8_t value) |
| Write byte. More... | |
| uint8_t | vscp_ps_readGUID (uint8_t index) |
| Read byte. More... | |
| void | vscp_ps_writeGUID (uint8_t index, uint8_t value) |
| Write byte. More... | |
| uint8_t | vscp_ps_readNodeZone (void) |
| Read node zone from persistent memory. More... | |
| void | vscp_ps_writeNodeZone (uint8_t value) |
| Write node zone to persistent memory. More... | |
| uint8_t | vscp_ps_readNodeSubZone (void) |
| Read node sub zone from persistent memory. More... | |
| void | vscp_ps_writeNodeSubZone (uint8_t value) |
| Write node sub zone to persistent memory. More... | |
| uint8_t | vscp_ps_readManufacturerDevId (uint8_t index) |
| Read the manufacturer device id from persistent memory. More... | |
| void | vscp_ps_writeManufacturerDevId (uint8_t index, uint8_t value) |
| Write the manufacturer device id to persistent memory. More... | |
| uint8_t | vscp_ps_readManufacturerSubDevId (uint8_t index) |
| Read the manufacturer sub device id from persistent memory. More... | |
| void | vscp_ps_writeManufacturerSubDevId (uint8_t index, uint8_t value) |
| Write the manufacturer sub device id to persistent memory. More... | |
| uint8_t | vscp_ps_readMdfUrl (uint8_t index) |
| Read the MDF URL from persistent memory. More... | |
| void | vscp_ps_writeMdfUrl (uint8_t index, uint8_t value) |
| Write the manufacturer sub device id to persistent memory. More... | |
| uint8_t | vscp_ps_readStdDevFamilyCode (uint8_t index) |
| Read the standard device family code from persistent memory. More... | |
| void | vscp_ps_writeStdDevFamilyCode (uint8_t index, uint8_t value) |
| Write the standard device family code to persistent memory. More... | |
| uint8_t | vscp_ps_readStdDevType (uint8_t index) |
| Read the standard device type from persistent memory. More... | |
| void | vscp_ps_writeStdDevType (uint8_t index, uint8_t value) |
| Write the standard device type to persistent memory. More... | |
| uint8_t | vscp_ps_readLogId (void) |
| Read the log id (stream id) from persistent memory. More... | |
| void | vscp_ps_writeLogId (uint8_t value) |
| Write the log id (stream id) to persistent memory. More... | |
| uint8_t | vscp_ps_readDM (uint16_t index) |
| Read the decision matrix from persistent memory. More... | |
| void | vscp_ps_writeDM (uint16_t index, uint8_t value) |
| Write the decision matrix to persistent memory. More... | |
| uint8_t | vscp_ps_readDMExtension (uint16_t index) |
| Read the decision matrix extension from persistent memory. More... | |
| void | vscp_ps_writeDMExtension (uint16_t index, uint8_t value) |
| Write the decision matrix extension to persistent memory. More... | |
| uint8_t | vscp_ps_readDMNextGeneration (uint16_t index) |
| Read the decision matrix next generation from persistent memory. More... | |
| void | vscp_ps_writeDMNextGeneration (uint16_t index, uint8_t value) |
| Write the decision matrix next generation to persistent memory. More... | |
The core uses the persistent memory driver to store important data in non-volatile RAM, e.g.
an EEPROM.
This layer has to be adapted only in vscp_ps_read() and vscp_ps_write(), because they abstract read/write to persistent memory itself.
The address in persistent memory is given via VSCP_PS_ADDR_... defines. Changing the VSCP_PS_ADDR_BASE moves the address base. If you want right after VSCP your application specific data in the persistent memory, use VSCP_PS_ADDR_NEXT as base address them.
Supported compile switches:
Attention, the persistent memory contains all data in LSB first!
| Order | Size in byte | Enable flag | Description |
|---|---|---|---|
| 1 | 1 | VSCP_CONFIG_BOOT_LOADER_SUPPORTED | Boot flag (jump to application or stay in bootloader) |
| 2 | 1 | - | VSCP nickname id |
| 3 | 1 | - | Segment controller CRC |
| 4 | 1 | - | Node control flags |
| 5 | 5 | - | User id |
| 6 | 16 | VSCP_DEV_DATA_CONFIG_ENABLE_GUID_STORAGE_PS | GUID |
| 7 | 1 | VSCP_DEV_DATA_CONFIG_ENABLE_NODE_ZONE_STORAGE_PS | Node zone |
| 8 | 1 | VSCP_DEV_DATA_CONFIG_ENABLE_NODE_SUB_ZONE_STORAGE_PS | Node sub zone |
| 9 | 4 | VSCP_DEV_DATA_CONFIG_ENABLE_MANUFACTURER_DEV_ID_STORAGE_PS | Manufacturer device id |
| 10 | 4 | VSCP_DEV_DATA_CONFIG_ENABLE_MANUFACTURER_SUB_DEV_ID_STORAGE_PS | Manufacturer sub device id |
| 11 | 32 | VSCP_DEV_DATA_CONFIG_ENABLE_MDF_URL_STORAGE_PS | MDF URL |
| 12 | 4 | VSCP_DEV_DATA_CONFIG_ENABLE_STD_DEV_FAMILY_CODE_STORAGE_PS | Family code |
| 13 | 4 | VSCP_DEV_DATA_CONFIG_ENABLE_STD_DEV_TYPE_STORAGE_PS | Device type |
| 14 | 1 | VSCP_CONFIG_ENABLE_LOGGER | Log id (stream) |
| 15 | VSCP_CONFIG_DM_ROWS * VSCP_DM_ROW_SIZE | VSCP_CONFIG_ENABLE_DM | Standard decision matrix |
| 16 | VSCP_CONFIG_DM_ROWS * VSCP_DM_ROW_SIZE | VSCP_CONFIG_ENABLE_DM_EXTENSION | Extended decision matrix |
| 17 | VSCP_CONFIG_DM_NG_RULE_SET_SIZE | VSCP_CONFIG_ENABLE_DM_NEXT_GENERATION | Decision matrix next generation |
| #define VSCP_PS_ADDR_BASE 0 |
Base address of all VSCP related data in the persistent memory.
| #define VSCP_PS_ADDR_BOOT_FLAG (VSCP_PS_ADDR_BASE + 0) |
Address of the boot flag in the persistent memory.
The VSCP specification specified it to position 0 in the persistent memory.
| #define VSCP_PS_ADDR_GUID (VSCP_PS_ADDR_USER_ID + VSCP_PS_SIZE_USER_ID) |
Address of the GUID in the persistent memory.
| #define VSCP_PS_ADDR_MANUFACTURER_DEV_ID (VSCP_PS_ADDR_NODE_SUB_ZONE + VSCP_PS_SIZE_NODE_SUB_ZONE) |
Address of the manufacturer device id in the persistent memory.
| #define VSCP_PS_ADDR_MANUFACTURER_SUB_DEV_ID (VSCP_PS_ADDR_MANUFACTURER_DEV_ID + VSCP_PS_SIZE_MANUFACTURER_DEV_ID) |
Address of the manufacturer sub device id in the persistent memory.
| #define VSCP_PS_ADDR_MDF_URL (VSCP_PS_ADDR_MANUFACTURER_SUB_DEV_ID + VSCP_PS_SIZE_MANUFACTURER_SUB_DEV_ID) |
Address of the MDF URL in the persistent memory.
| #define VSCP_PS_ADDR_NEXT (VSCP_PS_ADDR_DM_NEXT_GENERATION + VSCP_PS_SIZE_DM_NEXT_GENERATION) |
Next available address after all VSCP related data.
Use this define if you want right after VSCP your application specific data in the persistent memory.
| #define VSCP_PS_ADDR_NICKNAME (VSCP_PS_ADDR_BOOT_FLAG + VSCP_PS_SIZE_BOOT_FLAG) |
Address of the nickname id in the persistent memory.
| #define VSCP_PS_ADDR_NODE_CONTROL_FLAGS (VSCP_PS_ADDR_SEGMENT_CONTROLLER_CRC + VSCP_PS_SIZE_SEGMENT_CONTROLLER_CRC) |
Address of the node control flags in the persistent memory.
| #define VSCP_PS_ADDR_NODE_SUB_ZONE (VSCP_PS_ADDR_NODE_ZONE + VSCP_PS_SIZE_NODE_ZONE) |
Address of the node sub zone in the persistent memory.
| #define VSCP_PS_ADDR_NODE_ZONE (VSCP_PS_ADDR_GUID + VSCP_PS_SIZE_GUID) |
Address of the node zone in the persistent memory.
| #define VSCP_PS_ADDR_SEGMENT_CONTROLLER_CRC (VSCP_PS_ADDR_NICKNAME + VSCP_PS_SIZE_NICKNAME) |
Address of the segment controller CRC in the persistent memory.
| #define VSCP_PS_ADDR_STD_DEV_FAMILY_CODE (VSCP_PS_ADDR_MDF_URL + VSCP_PS_SIZE_MDF_URL) |
Address of the standard device family code in the persistent memory.
| #define VSCP_PS_ADDR_STD_DEV_TYPE (VSCP_PS_ADDR_STD_DEV_FAMILY_CODE + VSCP_PS_SIZE_STD_DEV_FAMILY_CODE) |
Address of the standard device type in the persistent memory.
| #define VSCP_PS_ADDR_USER_ID (VSCP_PS_ADDR_NODE_CONTROL_FLAGS + VSCP_PS_SIZE_NODE_CONTROL_FLAGS) |
Address of the user id in the persistent memory.
| void vscp_ps_init | ( | void | ) |
This function initializes the persistent memory access module.
It doesn't write anything in the persistent memory! It only initializes the module that read/write access is possible.
| uint8_t vscp_ps_readBootFlag | ( | void | ) |
This function reads the boot flag from persistent memory.
| uint8_t vscp_ps_readDM | ( | uint16_t | index | ) |
Read the decision matrix from persistent memory.
| [in] | index | Decision matrix index |
| uint8_t vscp_ps_readDMExtension | ( | uint16_t | index | ) |
Read the decision matrix extension from persistent memory.
| [in] | index | Decision matrix extension index |
| uint8_t vscp_ps_readDMNextGeneration | ( | uint16_t | index | ) |
Read the decision matrix next generation from persistent memory.
| [in] | index | Decision matrix next generation index |
| uint8_t vscp_ps_readGUID | ( | uint8_t | index | ) |
Read byte.
| [in] | index | Index of the GUID [0-15] |
| uint8_t vscp_ps_readLogId | ( | void | ) |
Read the log id (stream id) from persistent memory.
| uint8_t vscp_ps_readManufacturerDevId | ( | uint8_t | index | ) |
Read the manufacturer device id from persistent memory.
Note that index 0 is the LSB and index 3 the MSB.
| [in] | index | Index of the manufacturer device id [0-3] |
| uint8_t vscp_ps_readManufacturerSubDevId | ( | uint8_t | index | ) |
Read the manufacturer sub device id from persistent memory.
Note that index 0 is the LSB and index 3 the MSB.
| [in] | index | Index of the manufacturer sub device id [0-3] |
| uint8_t vscp_ps_readMdfUrl | ( | uint8_t | index | ) |
Read the MDF URL from persistent memory.
| [in] | index | Index |
| uint8_t vscp_ps_readNicknameId | ( | void | ) |
This function reads the nickname id of the node form the persistent memory.
| uint8_t vscp_ps_readNodeControlFlags | ( | void | ) |
Read the node control flags from persistent memory.
| uint8_t vscp_ps_readNodeSubZone | ( | void | ) |
Read node sub zone from persistent memory.
| uint8_t vscp_ps_readNodeZone | ( | void | ) |
Read node zone from persistent memory.
| uint8_t vscp_ps_readSegmentControllerCRC | ( | void | ) |
This function reads the stored segment controller GUID CRC from the persistent memory.
This function reads the stored segment controller GUID CRC from the persistent memory.
| uint8_t vscp_ps_readStdDevFamilyCode | ( | uint8_t | index | ) |
Read the standard device family code from persistent memory.
Note that index 0 is the LSB and index 3 the MSB.
| [in] | index | Index of the standard device family code [0-3] |
| uint8_t vscp_ps_readStdDevType | ( | uint8_t | index | ) |
Read the standard device type from persistent memory.
Note that index 0 is the LSB and index 3 the MSB.
| [in] | index | Index of the standard device type [0-3] |
| uint8_t vscp_ps_readUserId | ( | uint8_t | index | ) |
Read byte.
| [in] | index | Index of the user id [0-4] |
| void vscp_ps_writeBootFlag | ( | uint8_t | bootFlag | ) |
This function writes the boot flag to persistent memory.
| [in] | bootFlag | Boot flag |
| void vscp_ps_writeDM | ( | uint16_t | index, |
| uint8_t | value | ||
| ) |
Write the decision matrix to persistent memory.
| [in] | index | Decision matrix index |
| [in] | value | Decision matrix value |
| void vscp_ps_writeDMExtension | ( | uint16_t | index, |
| uint8_t | value | ||
| ) |
Write the decision matrix extension to persistent memory.
| [in] | index | Decision matrix extension index |
| [in] | value | Decision matrix extension value |
| void vscp_ps_writeDMNextGeneration | ( | uint16_t | index, |
| uint8_t | value | ||
| ) |
Write the decision matrix next generation to persistent memory.
| [in] | index | Decision matrix next generation index |
| [in] | value | Value |
| void vscp_ps_writeGUID | ( | uint8_t | index, |
| uint8_t | value | ||
| ) |
Write byte.
| [in] | index | Index of the GUID [0-15] |
| [in] | value | GUID byte |
| void vscp_ps_writeLogId | ( | uint8_t | value | ) |
Write the log id (stream id) to persistent memory.
| [in] | value | Log id |
| void vscp_ps_writeManufacturerDevId | ( | uint8_t | index, |
| uint8_t | value | ||
| ) |
Write the manufacturer device id to persistent memory.
Note that index 0 is the LSB and index 3 the MSB.
| [in] | index | Index of the manufacturer device id [0-3] |
| [in] | value | Manufacturer device id |
| void vscp_ps_writeManufacturerSubDevId | ( | uint8_t | index, |
| uint8_t | value | ||
| ) |
Write the manufacturer sub device id to persistent memory.
Note that index 0 is the LSB and index 3 the MSB.
| [in] | index | Index of the manufacturer sub device id [0-3] |
| [in] | value | Manufacturer sub device id |
| void vscp_ps_writeMdfUrl | ( | uint8_t | index, |
| uint8_t | value | ||
| ) |
Write the manufacturer sub device id to persistent memory.
Note that index 0 is the LSB and index 3 the MSB.
| [in] | index | Index |
| [in] | value | MDF URL value |
| void vscp_ps_writeNicknameId | ( | uint8_t | nickname | ) |
This function writes the nickname id of the node to the persistent memory.
| [in] | nickname | Nickname id |
| void vscp_ps_writeNodeControlFlags | ( | uint8_t | value | ) |
Write the node control flags to persistent memory.
| [in] | value | Value to write |
| void vscp_ps_writeNodeSubZone | ( | uint8_t | value | ) |
Write node sub zone to persistent memory.
| [in] | value | Node sub zone |
| void vscp_ps_writeNodeZone | ( | uint8_t | value | ) |
Write node zone to persistent memory.
| [in] | value | Node zone |
| void vscp_ps_writeSegmentControllerCRC | ( | uint8_t | crc | ) |
This function writes the segment controller GUID CRC to the persistent memory.
| [in] | crc | Segment controller GUID CRC |
This function writes the segment controller GUID CRC to the persistent memory.
| [in] | crc | Segment controller CRC |
| void vscp_ps_writeStdDevFamilyCode | ( | uint8_t | index, |
| uint8_t | value | ||
| ) |
Write the standard device family code to persistent memory.
Note that index 0 is the LSB and index 3 the MSB.
| [in] | index | Index of the standard device family code [0-3] |
| [in] | value | Standard device family code |
| void vscp_ps_writeStdDevType | ( | uint8_t | index, |
| uint8_t | value | ||
| ) |
Write the standard device type to persistent memory.
Note that index 0 is the LSB and index 3 the MSB.
| [in] | index | Index of the standard device type [0-3] |
| [in] | value | Standard device type |
| void vscp_ps_writeUserId | ( | uint8_t | index, |
| uint8_t | value | ||
| ) |
Write byte.
| [in] | index | Index of the user id [0-4] |
| [in] | value | User id byte |


I am a creative-minded, lifelong student. As a software engineer, I continuously strive to learn new & better ways to create software. My goal / passion is seeking opportunities to work & grow with people who are willing to share their insight as much as I want to learn. I am a Master's student at San Jose State University obtaining a MS in Software Engineering with a specialization in Software Systems Engineering, graduating May 2018.
Other interests that doesn't involve coding include playing the saxophone, traveling, movies, and trying new foods!
Bachelor's - Computer Science:
Master's - Software Engineering:
Wrote REST APIs with NodeJs & improved my design/implementation skills for queries/database schemas by analyzing/designing relational databases with Swagger & MongoDB/Mongoose. Enhanced my leadership skills by mentoring high school & undergraduate interns by familiarizing them with REST calls & APIs, as well as an introduction to NodeJs.
Candidate for Master of Science in Software Engineering with a specialization in Software Systems Engineering. Graduating in May 2018.
Tested & deployed scalable, highly available & modular software products. Wrote scripts to enhance user experience & integrated scripts with Linux utilizing my command line skills. Utilized my verbal & writing communication skills by providing support for hardware & software related issues for clients & falculty.
Worked with a team in maintaining 60+ Linux computers for students, faculty, & professors. I was able to tutor, & offer IT support for professors, faculty, & students.
Graduated with a Bachelor of Computer Science. I was fortunate enough to be able to attend two hackathons.
 GoXplr is a simple web app that does the thinking and planning for you. By taking a keyword specified by the user (i.e. bowling, tacos, movies, etc.), the app automatically launches the Uber app with a route to a destination that is the most affordable,
highest rated and best describes the specified keyword. Built for UberHacks 2017 using Node, Express, Yelp API & Uber API.
Check it out by using your native Camera app (iPhone), simply get the QR code in frame, and click the link when prompted.
Or use your favorite QR code scanner app (other smartphones).
Note: Must allow shared location and have Uber app installed.
A VR application that puts the user into a boxing gym, where they can interact with any of the virtual equiptment
in the gym. The user has the option to interact with different equiptment such as a punching bag, speed bag, hanging bedsheets,
etc. Built for my Master's project using Unity, and Apache JMeter.
NOTE: DEMO COMING SOON


The restore dialogue presents a somewhat simplified interface to the PostgreSQL pg_restore tool.
After you selected a valid backup file, pgAdmin will read the contents of the file when you press the View button. This may take some time, dependend on the size of the file. You can watch the progress on the Messages tab. After the examination has completed, pgAdmin will display the contents on the Contents tab.
Intentionally, the tool will not create the database to be restored. In order to restore a database, first create it using pgAdmin, and then start the restore tool with that fresh database selected. The data will be restored to that database.
You can restore a single object, when in restore database mode (this is displayed in the title bar, as in this example). After examining the backup file, you can select the desired table from the Contents tab, and check the Single Object box. Only that table will be restored.
You can select a table as restore destination. pgAdmin will restore its data if it is present in the backup file.
In order to use backup, the pg_restore tool must be accessible by pgAdmin. This can be accomplished by having it locatable using the path, or by copying it into the same directory where the pgadmin3 executable resides.


Statistics South Africa: Decrease In Inequality For White, Indian, Asian People
by NT EditorStatistics South Africa said there was a decrease in inequality for white, Indian and Asian people in South Africa but an increase for black people between 2006 and 2015.
Statistician-General Risenga Maluleke released the inequality trends in South Africa on Thursday.
The report is the first to be released in South Africa and is a multidimensional diagnostic of inequality in the country.
It shows that some aspects of inequality have declined while others have increased over the past several years.
“We should be able to unpack further and say the household expenditure share for black South Africans grew from 41.8% to 49.3% between 2006 and 2015,” Maluleke explained.
He said research showed that labour market income was the main driver of income inequality in the country.
Maluleke added while economic income increased for black South Africans, it remained constant for coloured people, while it decreased for Indian, Asian and white people.


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For nearly one hundred years, the ancient Greek cities of Syracuse and Carthage had been at war as ruler after ruler fought each other for the throne. Finally, in 275 BCE, the troops from Syracuse grew weary of the inefficiency and selfishness of their leaders and elected commanders from amongst themselves. One of their chosen leaders was a young general named Hiero.
Now, Hiero was charismatic and had a natural talent for leadership and politics. With his new status and help from his connections, he entered the city of Syracuse and managed to take over its government. And the citizens of Syracuse, who typically rejected the thought of soldiers picking their own leaders, made an exception and accepted Hiero as a leader. In 270 BCE, a great battle broke out, and it was Hiero who led Syracuse to victory, prompting the people of Syracuse chose Hiero as their king.
The people of Ancient Greece believed in many gods, and Hiero was grateful to them all for his success and good fortune. To show his appreciation, Hiero decided to put into a temple a golden crown made in their honor. Hiero weighed out a precise amount of gold, and appointing a goldsmith, commanded him to fashion out of the gold a laurel wreath shaped crown worthy of the gods.
The goldsmith did as instructed, and several days later, he returned to the king with a beautiful and intricate crown in the form of a laurel wreath, just as the king had requested. This crown weighed exactly the same as the gold the king had given to the smith and King Hiero, pleased with the work, rewarded the goldsmith. King Hiero began preparations for the ceremony in which he would place the crown in the temple. But something has gone wrong. The king is furious, the festival has been put on hold, and the city is in turmoil.
%%NAME%%'s Task
%%NAME%% is to travel to ancient Greece, figure out what is causing the king's anger and creating so much tension in the city, and fix the problem. Don't forget, it can get very hot in Greece; bring a disposable plastic water bottle back with you.
Ready to go undercover?
Accept this mission when you are ready to proceed.


Vern
ADSL Pirate
Registered: Jan 2002
Location: Broadband Britain
Posts: 1278 |
www.k-lite.tk seems to be down at the mo.. and the filename link is for people who have KaZaAlite with a program called sig2dat installed (its bundled with KaZaAlite). It just adds the file into your dowload queue, so you don't need to search. I find i have to cancel, and then resume the download, to get them to work using that though. Still easier than searching, and it's handy for verified files.
EDIT: The www.stargates.tk link had a . on the end
__________________
Last edited by Vern on 12-18-2002 at 11:24 PM
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property OffsetVert: Single;
Specifies the vertical offset of the bitmap image in baCustom BitmapAlign mode
[See also]: Bitmap Image


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The head two
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{% extends "base.html" %} {% block bodyblock %}
Bitcoin enthusiast and developer. Currently working on a secure and deniable Bitcoin wallet project called Nowallet. In love with Python, Bitcoin and the Web. I advocate for the building and use of distributed systems where control rests with the end users. Networks are powerful. Why should some of us have less power?


 Since I want to describe finite integers, so I choose list nat
. The way I find to write the product is list.foldr (*) 1 [2,3,5..]
, using a random list as an example. Is this the best way of doing this? (sorry for asking so much noob questions recently)
I'm trying to describe the product of a bunch of coprime integers. Since I want to describe finite integers, so I choose
list nat
. The way I find to write the product islist.foldr (*) 1 [2,3,5..]
, using a random list as an example. Is this the best way of doing this? (sorry for asking so much noob questions recently)
If you import algebra.big_operators
, you get access to list.prod
.
It's probably better to use finset.prod
. Most of the useful lemmas are about finset.prod
.
Out of curiosity is there a reason (other than historical accident) why the lemmas about sums and products are mostly at the finset
level rather than list
? Are finsets intrinsically more well-suited for summing (or proving things about sums) than lists?
Last updated: Apr 24 2020 at 19:02 UTC


MUSIC 140 - Popular Music and Culture
Instructor: Simon Wood
Section: 001
Location: STP 105
Time: Thursdays 7:00pm - 9:50pm
Term: Spring 2016
May 5, 2016 - Lecture 1
What is Popular Music?
- Dependent on the development of
- Different from “folk” and “art” music genres
- The Industrial Revolution changes the system of barter economy to a system of monetary currency (also contributed to 3, the Middle Class, and 4, the growth of urban populations)
- The Emergence of the Middle Class, who possesses disposable income
- Large Urban Populations (as a result of the rural-to-urban shift)
- Copyright Law -> music itself is an idea (Law originated from Queen Mary, who also started stationary companies; musicians have to register and sell royalty)
- Technologies of mass production and broadcasting -> records
- By 1945:
- End of the “Big Band” era
- Big Band had dominated the music industry since the mid 30s
Example: “Sentimental Journey” (Doris Day, 1944), focuses on instrumental, performed by Les Brown and His Band of Renown
- Development of the American Music Industry
- What creates the conditions for popular music to become a consumer product?
- 1790s to 1830s - Amendments to the copyright law to cover sheet music
- The Victorian Ballad: Minstrel Shows and Parlour Music
- Minstrel Shows
- Variety show that depicted African-Americans in a racist and stereotypical light
- Instruments: Guitar, Banjo, Fiddle, also Piano
- Most important composer: Steven Foster
- Example: “Massa’s in de cold cold ground” (1852)
- Characteristics: guitar accomaniment and vocal control
- Parlour Music
- Industrial Revolution
- Rise of the Middle Class
- Luxury item = Piano = symbol of wealth
- Daughters pursue “leisure” activities
- Example: “Believe Me, If All Those Endearing Young Charms” (Early 1800s) by Thomas Moore
- Parlous Song - AABA form in terms of melody
- Characteristics: Piano accomaniment, vocal control, and with themes such as loyalty, honesty, control, and restraint
- Demand for newly composed songs leads to the increased organization of the music industry
- Tin Pan Alley
- Charles K. Harris - “After the Ball” (1892): Sheet music sold over 5M copies = “The First Hit Song” -> Why? Urbanization and population growth
- The success of “After the Ball” gave birth to Tin Pan Alley (TPA)
- Both a musical style and a place
- Manhattan in NYC, became the centre of professional music making
- During the 20s and 30s, 21k publisher and 36k composers in a few blocks in TPA
- Division of labour: composers, lyricists, publishers, publicity(marketing), and performers
- Sheet music dominated (though transitioning to recording in the 20s)
May 12, 2016 - Lecture 2
Lyrics
- Basic rhyme scheme
- Syllabic
- Idealized romance - Beginning and Ending
African American Music
Where black culture emerges from and how characteristics map onto emerging culture after slavery ends
Background
- Do not get rock’n roll without the slave trade
North American Slave Trade (1619-1863)
- 1619, First African slaves sold in North America
- Sahara essentially divides Africa into two:
- Northern Africa - more associated with Middle East
- South Sub-Saharan Africa
- Majority of North American slaves came from South Sub-Saharan West Africa
- Despite salvers’ attempts to extinguish slav culture, some aspects such as music, survived, in fact music was omnipresent
- Where Rock ‘n Roll began
- Work songs:
- Used to pass time, set pace, or coordinate group work for efficiency (i.e. synchronize axe swings)
- Help saving lives: by slowing pace, work songs made the group seem at the same pace, making it hard for owners to distinguish sick/slackers
- “Floating pool of verse”: floating verse created by song leader - majority were men, highly valued; had many fragmented verses, made songs up on the spot
- E.g. “Old Alabama” (1947): Slavery ended 12 years before recording technology, therefore we are not listening to slaves but rather a prison gang; this recording is by prisoners in 1947; song leader initiates and everyone joins in; not just a song, more like a game to keep spirits up - had to discern verse from syllables of song leader
Folk Music
- Performed by amateurs (derived from the French word for lovers, amore; means “doing it for free”, not paid)
- For self or community entertainment
- Oral tradition - passed down generationally via experience
- More concern with tradition than innovation (lacking “self-consciousness”)
- Not professionalization - quest for innovation, to stand out to get noticed; folk culture contrasts this, it focuses on continuity of tradition
- African Retentions:
- Interest in percussion and distorted timbres
- Timbre(tamber) (physical/audible): quality of an instrument that allows identification
- West African culture has a focus on percussion (drums, but anything that is struck)
- Distortion: unintended alteration of your signal - West African Perspective: seen as an overflow of intensity/investment of energy
- Value in the Ecstatic and the Cathartic: Sweat means energy
- Rhythmic complexity - syncopation
- Indian music has complex notes and rhythms - no chords or harmonies
- Use of “riffs”, a small, self-contained, music gesture that is repeated over and over, becomes the basis of a longer composition (opposite: motif)
- Use of “call and response” -> West African perspective: no difference between performer and audience. Audience sing and dance with performer (in contrast to Western concert); E.g. YouTube video “Pop Song”, Jon Lajoie
- American Civil War (1861-1865) and Post-Slavery (1865-)
- Institutionalized racism
- Acceleration of rural-to-urban shift
- New forms of music appear during late 1800s:
- Ragtime(“The Entertainer”) - urban
- Jazz - urban
- Blues, Country (rural) Blues:
- Wandering musicians
- Male vocalist, with acoustic guitar
- Plaintive vocal sound - lament
- Themes: travel, economy, and love
- 12 Measure phrases (known as bars)
- a-a-b lyric pattern
- Call and response between guitar and voice
- Floating pool of verse
- Robert Johnson (1911-1938)
- Defined standards for blues guitar
- Peak: November 1936 and June 1937 - The Complete Recordings
- Mythic character
- E.g. “Sweet Home Chicago”, November 1936: added six/Boogie-woogie pattern (note: take a body of the song and put it into intro and outro (end of each verse is similar to intro))
Word of the Class: Self-Conscious (indicator of professional performer; unlike folk performer; Actively thinking about how to innovate and improve in order to gain more audience)
Changes in Technology
- Mechanical Reproduction
- 1877: Edison invented phonograph (gave rise to gramophone)
- 1892-1912: Transition from cylinders to disks
- 1925: Industry standard speed set to 78 RPM
- What was recorded?
- Sheet music/TPA(Tin Pan Alley)
- Black music/rural Southern white music not recorded because:
- cultural chauvinism (people who control the technology did not think other cultures were worth recording)
- Rural areas - less sales
- Commercial Radio, 1920
- January 1922 - 28 stations -> December 1922 - 570 stations
- Controlled by only a few networks (CBS, NBC, Mutual)
- First radio network: NBC, 1928
- Very few independent radio stations existed
- Network radio began to change patterns of consumption form regional to national
The Rise of the Record Industry
- The record industry concerned - needs to find new markets
- Ralph Peer - worked for Okeh Records
- Finding songs (repertoire) and artists (A&R guy - artists and repertoire)
- 1920 - “Crazy Blues” - Mamie Smith
- due to institutionalizedracism - black people did not record music
- first significant recording by AA artists despite origin in 1877
- song was a minor hit - purchased by white people despite racism
- black community did not have a lot of purchasing power, thus they were not a targeted market
- not a Blues song, much more associated to Jazz. Jazz is closely linked to popular music up to post-war
- Market research in popular music
- most radio music is TPA
- Ignored black cultural and southern rural white culture, thought culture was artistically and economically insignificant
- Peer decided to used records to play what radio did not
- Introduction of “Hillbilly”: Carve that Possum - Uncle Dave Macon, 1927
- Uncle Dave Macon and the Fruit Jar Drinkers
- Early origin of country (music of Southeastern states, now called blue bratz) and western
- More energy/intensity, very hard, on beat
May 19, 2016 - Lecture 3
Introduction of “Race”
- How Long Blues, 1928, Leroy Carr and Scrapper Blackwell; beginning of guitar solo
- First recording of AA artists and Blues (1890s, maybe 1880s)
- Included different styles. The most important one was that it included the next style of Blues: City Blues = music made by country blues artists after they moved to the cities; Relaxed style
- Instruments had to be louder in city than in country, therefore main instrument went from solo acoustic guitar to piano
- Black and Southern cultures exposed
Television
- First demonstration in 1927
- Experimental and low-resolution broadcasts through the 1930s
- Network broadcasts begin in 1939
- By 1945 - 6 stations
- WWII: TV not helpful towards war effort
- By 1955 - 411 stations
- Major nextworks move to Television
- Televion was a better medium for commercials
- Commercials were primary revenue source for networks
- Major networks switching mediums led to more independent, local stations
- First “Black Appeal” radio station - WDIA Memphis, 1948; 2 pharmacists bought a radio station
- By 1954, 200 BA radio stations are on the air
Who is listening? Extended Adolescence
Transistor Radio
Gospel
The sacred music of black culture, from the culture following the civil war -> spiritual
Ray Charles(Robinson), 1930-2004
- Born in Albany, GA
- Blind at age 7, learns music in a school for the blind
- 1952 Atlantic Records
- Success with white audiences - heightened level of intensity
Chicago Electric Blues
- Muddy Waters, 1913-1983
- Born in Mississippi
- Played guitar and harmonica
- Emulated Robert Johnson
- Moved to Chicago in the early 1940s
- Switched to electric guitar, 1945
- 1946, records for Aristocrat Records (would later become Chess Records)
- Hoochie Coochie Man (1954, Willie Dixon)
- Verse chorus (modified 12-bar blues)
- Stop Time
May 26, 2016 - Lecture 4
Recap
- Crossover hits: works done by black artists but were popular on the charts;
- White teenagers listened to a lot Black music
Cover Versions: 1954-1956
- “white” versions of “black” records; did not violate copyright laws; quite legal; crossover->pop chart->within a week or two the same song performed by white artists would be on the chart with it simultaneously->to appease white parents
** Richard Wayne Penniman “Little Richard” **
- Born 1932, Macon, GA
- First big hit: “Tutti Frutti”
- Released late 1955 on Specialty Records (lyrics revised by Dorothy LaBostrie; she replaced some sexual lyrics with less controversial words)
- “Crossover” hit: #2 R&B, #17 Pop on Billboard
** Pat Boone **
- Born 1934
- Was just breaking as a popstar in 1955
- Early 1956, released a cover of “Tutti Frutti”
- No R&B, #10 Pop
- Outsold Little Richard with white audiences
** What was changed? **
** Cover Versions: “Sh-Boom” **
- The Chords (black, original) and The Crew Cuts (white, cover);
- The Chords: June 1954/Cat Records(independent) (AABA pattern), crossover hit on the pop charts
- The Crew Cuts: July 1954/Mercury Records (AABA,Sh-Boom(A), Sh-Boom(A),BA, still retained the AABA structure; deliberately repeated the AABA pattern to appeal to white middle class audiences, will sound more familiar; Changes:)
- The Chords: Form: 1x through AABA, with interludes; Voice: distorted - use of lower octave in B; Solo: Sax - distorted timbre, sexual metaphor
- The Crew Cuts: Form: 2x through AABA - clearly stated; Voice: Clean, no use of lower octave; Solo: No solo - repeats of “Sh-boom” group vocal - timpani joke (cartoon reference)
- Racist? Or a continuation of TPA traditions? Record companies -> simply business
- The Chords: #3 R&B / #5 Pop
- The Crew Cuts: no R&B / #1 Pop for 9 weeks - Song of the Year (not The Chords)
- Both white and black artists performing in this new style: a mix of pop, C&W, and R&B, targeted teenagers - Rock ‘n Roll (term attributed to Alan Freed; term goes at least back to the 1800s out of Black culture)
** Bill Haley and the Comets **
- Born in 1925
- Originally “Bill Haley and the Saddlemen”
- Western Swing (Jazz beats)
- Changes to “Bill Haley and the Comets” in 1952
- Early hits with “Crazy Man, Crazy” and “Shake, Rattle, and Roll”
- ** 1954, Rock Around The Clock **
- Becomes popular in 1955 in the midst of fear of black culture on white teenagers
- Film “Blackboard Jungle”
- 12 bar blues
** Elvis Presley (1935-1977) **
- Born in Tupelo, Mississippi
- 1953 - 18 years old, Sam Phillips/Sun Records (independent, 2 employees)
- Spring 1954 - Records with Scotty Moore (Guitar) and Bill Black (Bass); White artists did not use drums in 1954, “gonna record country and western songs”
June 2, 2016 - Lecture 5
Elvis Continued
- July 1954, “That’s Alright Mamma”/”Blue Moon of Kentucky”, original by Bill Monroe; Change in beats
- country and western music to upbeat, pop monstrosity with heavy R&B influence; added drum
- 1954-55: Elvis on Sun Records; 12 songs, all covers
- Rockabilly - “The Hillbilly Cat”, one foot in country and western, one foot in rhythm and blue
- Regional star, some national sucess on Country Charts
- 1956, Colonel Tom Parker; in Southern states, “Colonel” is an honorary title for an important figure in the community; Tom Parker is a promotor extraordinaire; RCA
- Sam sold Elvis’s contract for $35,000; Money was used to promote other artists
- 1956, Elvis: 11 appearances on national television
- April-May 1956: “Heartbreak Hotel”, April-May No.1 Pop/Country No.5 R&B
- August to December 1956: “Hound Dog”, “Don’t Be Cruel”, “Love Me Tender” ALL No.1 Pop; “Hound Dog” is the first song to chart No.1 on Pop/Country/R&B
- Elvis not charting R&B after 1957
- March 1958 - March 1960: Elvis enters the army
- March 1961 - Last public performance for 7 years
- Transition from trailblazing pop star icon to movie star
- 1968 - “Comeback Special”
- 1970-1977 = Las Vegas
- Elvis died August 16, 1977, aged 42
Chuck Berry
Early History:
- Born in St. Louis, Midwest, different from other contemporary artists (Elvis, Little Richard, etc); Middle-class family
- Wanted to be rich, thus chose a music career; Entered talent/music contests
- Deliberately used nasal cavity to sing to sound like a white country artist
Chess Records:
- “Idared” -> “Maybellene”, July 1955
Themes:
- Cars
- Girls
- No school
- Rock ‘n’ Roll - celebrating the music itself
Berry deliberately wrote songs for young white audience.
Few “cover versions” of Berry’s songs. Why?
- centrality of the electric guitar
- unlike artists such as Little Richard, Berry had little in his performance or music that was viewed as a “threat”
Johnny B. Goode, 1958 No.2 R&B, No.8 Pop
- 12 Bar Blues with a “text heavy” narrative
- While elements:
- text-heavy - narrative/stories;
- clear enunciation, sung very clearly
- groove is “straight” 8ths
- country guitar sound, as opposed to muddy/messy guitar sound
- Black elements:
- Blues chord structure
- Added 6th (Boogie-woogie)
- Call and response between voice and guitar
- Guitar solo is structured on timbre and rhythm, than on actual notes
</ br>
June 9, 2016 - Lecture 6
- 1954 $200 Million; 1959 $600 Million:
- Pop top 10: 1955 - 15% are R’n’R / 1959 - 42% are R’n’R
- Independent share: 1955: 21% / 1959: 66%
Racism
Reaction against the perceived intergration of youth
Birth of ROck and ROll coincides the mergence of the Civil Rights Movement
+ May 1954: Brown v. Board of Education of Topeka: Separate is not Equal
+ Court declared state laws establishing separate public schools for black and white students to be unconstitutional
+ Overturned state-sponsored racial segragration supported by Plessy v. Ferguson (1896)
+ December 1955: Rosa Parks - Montgomery Bus Boycott
+ political and social protest against racial segregation
+ Freedom Rides / Lunch Counter Sit-ins
+ African-Americans and sympathetic Americans
+ Sit together while crossing state lines
+ Lunch Counter Sit-ins: 1960: Greensboro, North Carolina
+ Martin Luther King King Jr.: Non-violent protest
+ Dislike of Rock ‘n’ Roll is linked to middle-class white fears regarding the growing strength of the Civil Rights’ movement; RnR considered inferior culture
The Great Extinction
- March 1958: Elvis drafted into army
- December 1959: Chuck Berry arrested under the “Mann Act” (aka White Slave Traffic Act)
- May 1958: Jerry Lee Lewis - Marriage to 13-year-old cousin becomes public
- October 1957: Bible College
- February 1959: Buddy Holly - died in a plane crash along with Ritchie Valens and “The Big Bopper” (JP Richardson) = End of the Golden Age, song “The Day Music Died”, February 3, 1959
The In-Between Years (1959-1963)
- The end of the Golden Age of Rock and Roll, to the arrival of The Beatles (February 1964)
- Vacuum created by the loss of so many of the stars of the Golden Age creates a space for the Major Record companies to reassert control over the popular music industry
- They begin to create music similar to 1950’s Rock and Roll, but produced within the Division-Of-Labour system favoured by the major labels
Dance Craze
- E.g. “The Locomotion”, Little Eva (Gofiin, King), 1962
- Songs are written specifically for the new teen demographic. Romantic (non-sexualized) love and dancing
- Teen idols: clean-cut, idealized boyfriend - no “bad boy” image from the Golden Age
- Bobby Vinton: “Blue Velvet”, 1963
- Composed in 1950
- Hit for Tony Bennett in 1951
- Most of the newer artists did not write songs - where were they coming from?
- From a new generation of TPA-style songwriters working in the new style of Rock and Roll
- Many came from The Brill Building
- Neil Diamond, Carol King, Burt Bacharach, Marvin Hamlisch (EGOT), Ellie Greenwich, Barry Mann
- Don Kirshaner / Al Nevins Aldon Music
- Pop music - TPA approach
The Rise of the Producer
- Magnetophon: Sgt. Jack Mullin in Signal Corps in the US Army;
- He discovered a magnetophon in Nazi Germany at the end of WWII
- Magnetophone = First high-quality reel-to-reel tape recorder
- 1947: Mullin demonstrated tape recorder to Bing Crosby (who invented the laugh track)
- Bing Crosby invested in the founding Ampex
- Inexpensive, mass-produced tape recorders lower the cost of operating a recording studio
- Leads to a boom in independent record companies, which in turn is part of what makes the golden age of Rock’n’Roll possible
- 1948: Bing Crosby gve one of the first commercially produced reel-to-reel tape recorder to Les Paul
Les Paul (1915-2009)
- Jazz, Pop, Country
- 1941: “The Log”
- 1952: Gibson Les Paul
- Les Paul wished to create recordings by layering performance
- Assisted in the devlopment of the “multitrack” tape recorder
- Example: 1953, “Sitting on Top of the World”, Les Paul with Mary Ford
- When did this performance occur?
- Multitrack recording redefines the process of recording. Reproduction to Production
- During the In-Between Years, the recording industry begins the transition from recording complete songs in a single “take” to the use of multitrack recording
Phil Spector
- The “Wall of Sound”
- 1963, The Ronettes, “Be My Baby” (Barry, Greenwich, Spector)
Two other styles of music become imporant although neither fit the Division-Of-Labour model.
The Folk Festival
- Many of the teen fans of the Golden Age are now in their early 20s
- Now in university, many are looking for music that is more “serious”
- Folk music
Pre WWII
- Folk music, political left, Union Movement
- Woody Guthrie: “This machine kills fascists”
- The Weavers: Pete Seeger
- “This Land is Your Land” (Woody Guthrie, 1940) performed by The Weavers
- instruments and vocal timbre
- lyric content
- successful from late 1940s to 1953
- “blacklisted” in 1953 because of left-wing connection
HUAC (House Un-American Activities Committee) and McCarthyism (1947-1956)
+
Late 1950s / Early 1960s - Baby Book reaches college
- interest in “serious” music
- The Kingston Trio / Peter Paul and Mary
- similiar to ealier music but more “produced” - smoother sounding, more “arranged”
June 16, 2016 - Lecture 7
Bob Dylan
- 1961-1965 Traditional folk singer songwriter
- A Hard Rain’s a Gonna Fall (1963)
- Nuclear missile: black rain
- Cuban Missile Crisis - October 1962
- Lyric style
Surf Music
- Middle class, West Coast prosperity
- An extension of the 1950s
- Dick Dale and the Del-tones; The Ventures
- Importance of Electric Guitar:
- The Beach Boys
- 1952 -
- The Pendletones (original name)
- May 1963 - Surfin’ USA (Chuck Berry)
- Brian Wilson - Creative force
Decline in popularity through late 1960s - why?
- Brian Wilson’s mental illness
- Changes in approach to popular music (1960s) - Too optimistic, too naive
- Total worth: $200M in 1954
- Total worth: $600M end of golden age, mid to late 60s
- Stayed flat during the in-between years (60s) -> holding pattern
- After The Beatles appeared (1964): $1B
Why do we call call these years “The In-Between Years”?
- End of 50s: Music industry worth 600M
- 1963: Music industry worth 600M
- There was no growth in this period. It was completely stagnant. But a year later, once The Beatles have come around in 1964, the industry was worth over 1B.
===TEST 2 MATERIAL===
The British Invasion
- US in early 60s
- Opinion with Kennedy (Camelot, musical by Lerner and Loewe, refers to his charisma)
- Optimism with Kennedy (who believed in equality), well-liked by young people, democratic, sympathetic to goals of civil right movements
- “The New Frontier” - world as it would be if there was selflessness and equality
- JFK “the outsider” -> very young, Catholic (American presidents were never Catholic) -> champion of civil rights who listens to young people -> “Anything is possible”
- August 1963, Washington DC - MLK “I Have A Dream”
- November 22, 1963, Dallas TX - Kennedy assissinated
- This put the country into a great depression and shocked everyone
- February 1964 - The Beatles arrived in New York
Post-War Britain
- Lack jobs, infrastructure destroyed, increased unemployment, rationing - Consequences of WWII
- Also lack of entertainment culture due to crumbled infrastructure
- Thus the return to DIY culture: There is no music industry, what do you do? You make it yourself.
- New style of music: Skiffle (3-6 (cheap) guitar players, could not afford bass, a bass player with a broomstick bass and string on box “washtub”, and maybe a kick drum + tambourine), heavily influenced by American culture
- Everyone knew how good it was in the US (years following WWII stories of how well Americans were doing)
- As such, the British wanted to be like tem where things were better. The craze for American culture spread into the music industry
- British teens were getting American records from American soldiers who brought supplies, including things they could sell on black market (chocolate, records (Blues and Rock n Roll))
- Skiffle was based on American Blues and Rock ‘n’ Roll
The Quarrymen (later known as The Beatles)
Early History
- July 1957, “The Quarrymen” - John Lennon / Paul McCartney (vocals and guitar) began to write songs together (important: they both wrote songs). John invites Paul to join and write songs
- However, neither of them could play guitar solos; needed a lead guitarist
- February 1958 - George Harrison (“Lead” guitarist)
- January 1960 - Stu Sutcliffe (Bass) was added, but he really just stood there because he couldn’t play bass
- The Quarrymen spent a lot of time in Germany playing for American soldiers
- They had their Rocker image (black leather jackets, jeans, boots, greased hair) during this time; in Hamburg, Germany
- The British interpretation of American motorcycle gangs
- August 1960 - Changed name to “The Beatles”, added drummer Pete Best
- Became a very busy band, where in England they were busy backing up other singers, and in Germany playing for American soldiers
Liverpool - The Cavern Club
- The Beatles were developing their home club while playing at this night club
- July 1961 - Stu Sutcliffe leaft band to become an artist; Died of brain hemorrhage in April 1962; Paul McCartney switched to bass
- The Beatles were very rough - they got into a lot of fights, took drugs, spat on audience etc.
- More importantly, they met Brian Epstein, their manager
Brian Epstein
- December 1961 - Epstein became The Beatles’ manager
- Up to this time, The Beatles were making a lot of recording as back-up artists
- In 1961 they were background music for Tony Sheriton, which became a small hit
- It was Tony’s hit everywhere else, but in Liverpool, residents knew that The Beatles were the ones in the background
- First, Epstein changed The Beatles’ image: more clean-cut
- He made them into men that fathers would be okay if their daughters dated them
- Next, he got them a record label
- June 1962 - Parlophone (a division of EMI), after being rejected by the major ones (such as DECA)
- EMI didn’t know what to do with them, so they shoved them aside and gave them a producer, George Martin
- Martin didn’t think they were the best, fired Pete Best and hired Ringo Starr
- He would later have a lot of interactions with Paul McCartney as the Beatles began to divide into the John side and the Paul side
June 23, 2016 - Lecture 8
The Beatles: History (Continued)
- Love Me Do, September 1962 (Ringo didn’t play on this record)
- By the end of 1963, The Beatles were one of the most popular acts in Britain
- They performed at the Royal Variety Show in November 1963 at London Palladium
- 26 million people viewed this performance
- Sponsored by the Royal Family; Established them as major stars
- Please Please Me, January 1963 (Ringo as drummer)
- AABA form
- McCartney and Lennon, by this point, were experienced and mature songwriters
- Numerous rehearsed details, change in rhythmic density in vocal
- Highest note at the end of the B section - moment of greatest tension
- TPA-style attention to arrangement
- Initially, British musical acts did not do well in the US
- February 1964 - “The Beatles are coming” media campaign in the US
- Referred to as “The New British Invasion” (in reference to the War of Independence)
- Television performance: Ed Sullivan Show, February 9, 1964
- 70 million viewers; Bruce Springsteen was impressed and inspired, amongst other future rockstars
- The most influential TV appearance ever
- The Beatles invented Arena Gigs - They did a concert at a sports arena (Washington Coliseum), and no band had ever played in such a big venue before
- The American tour lasted for two weeks. They sold over 2 million albums, and $2.5 million worth of merchandise
- When The Beatles returned to England, 50,000 fans were awaiting their arrival at the airport. This hysteria is known as “Beatlemania”
- In April 1964, 12 Beatles songs in the Billboard Top 100 Pop including spots 1-5, for three weeks
- A Hard Day’s Night (film), July 1964
- First film; Usually pop star films were bad, but this one was good and funny
- In 1965, by the end of their 4th US tour, they had made $65 million, also played in Shea Stadium in New York
- This craze can be explained by the fact that you have probably seen them at most twice - no videos, only the Ed Sullivan Show and only photographs; Very limited access to seeing artists
- The Beatles have brought back the Golden Age of Rock n Roll
- Not much musically, but the sensibility and more importantly, self-contained bands
- They brought back the approach of the Golden Age, writing and playing own songs and instruments, and playing music primarily based on the electric guitar (all of which disappeared during the in-between years)
- The Beatles formed the template for what is to follow - guitar-based, self-contained, writing/performing own songs
- They were essentially role models for Mersey Beat: Gerry and the Pacemakers, The Searchers, The Swinging Blue Jeans with regards to their music and appearance
- Mersey Beat is the sound that is similar to The Beatles
- Liverpool was built on a port - important, because this was where you could get music from sailors
- Mersey Beat was a music publication in Liverpool; it carried news about all the local Liverpool bands
- Help (film), July 1965
- The Beatles’ second film
- Very influential - American TV created a band (“The Monkees”) modelled on the look from the movie
- The TV show was about an imaginary band that wanted to be The Beatles, but was never successful
- Yesterday, 1965 (from Help)
- AABA form
- More complex harmonic and lyric structure
- Was written almost entirely by Paul McCartney, but none of the other members liked the song; It was not a Beatles tune
- First time a Beatle song where only one Beatle playing
- String quartet also playing
- Shows the growing bond between George Martin and Paul McCartney
- String quartet = composers do their greatest and most serious work
- This song was the first song that something was changing within The Beatles
- Prior to this song, they had met Bob Dylan, who introduced them to drugs, influenced their approach to music - told them that they had good music but their lyrics lacked meaning
- This is the moment when The Beatles stopped being one band and started moving away from each other, between Lennon and McCartney
- The Beatles were evolving - they started to move away from pop song writing
- Rubber Soul (album), December 1965
- The Beatles’ first release not to feature their name on the cover, uncommon in 1965
- The Beatles were moving away from singles, and into the realm of albums, and all of the aspects that come with it
- They slowly drifted away from conventional album covers to covers with less words = “Rubber Soul” with a distorted image
- Revolver (album), August 1966
- By this time, The Beatles were heavily influenced by non-Western culture
- They were interested in studio recording and writing music that could not be played in real life; Very abstract
- Writing and recording is now more important than playing live
- Tomorrow Never Knows, from the album Revolver, August 1966
- Composed by John Lennon
- Song was based on a drone, a note or chord continuously sounded throughout most or all of a piece (influence of non-Western culture)
- Lyrics were based on the Tibetan Book of the Dead
- Vocal was “double-tracked” (John sang the song once and recorded it, then sang it a second time and tried to match it exactly to the first time) - you can’t perfectly match them, there will be always be some kind of discrepency and is run through a Leslie speaker cabinet
- Made use of tape loops (avant garde) and backwards recording
- First known use of flanging (audio effect produced by mixing two identical signals together, one delayed by a small and gradually changing period; produces a “Darth Vader effect”)
- Had an Indian musical influence
- The importance of this song: demonstrated the growing influence of non-Western culture and recording studio techonology on the work of The Beatles
- First song that they could not play live
- Creating the studio has become more important to them than being able to play in concerts
- Summer 1966, The Beatles were not a good band
- June 1966, Japan - They played awfully, not together as a band
- July 1966, The Phillippines - They were even more exhausted and sounded even worse
- March 1966, Lennon did an interview with an English newspaper, London Evening Standard
- He emerged as the intellectual in the group
- When asked about the conflict between modern pop culture and religious traidtions, Lennon (who was fairly spiritual) said modern religion is more about power, rather than faith, and said people would rather see The Beatles than go to church
- “Bigger than Jesus”
- No reaction from he public until August 1966, when a US teen magazine quoted Lennon’s comments -> extensive protests
- August 29, 1966 - The Beatles’ final live performance in Candlestick Park in San Francisco
- Final unannounced live performance was on the roof the Apple building in London in January 1969
- The Beatles were only in the public light for about 2 years
- Sgt. Pepper’s Lonely Hearts Club Band (album), June 1967
- Considered one of the most important albums in the history of Western pop music
- 27 weeks at the top of the albums chart in UK, 15 in US
- The first concept album -> most or all songs were linked to theme: The Beatles wanted to present themselves as someone else (Sgt. Pepper’s Club) and talk about childhood, but both ideas were dumped
- This was an album, not a collection of songs
- The first significant album to include all of the lyrics; The lyrics were printed in full on the back cover
- It was an experience; Listening to the songs in order is very important
- The Beatles were changing what popular music was, where you focus on album and musicians not thinking of themselves as entertainers, but instead as artists
- The Beatles’ second great contribution: transforming Rock n Roll into Rock -> music that was more serious and focused
June 30, 2016 - Lecture 9
The British Blues Revival
- There was a significant interest in Blues in London, UK
- Had a large following there even though Blues weren’t as popular as in the US
- Late 1950s - Chess Tour was organized (Chess Records musicians travelled to England to perform)
- Chris Barber, Cyril Davies, Spencer Davis, Alexis Korner - Blues Incorporated, John Mayall’s Blues Breakers
- Their backup singers included members of: Fleetwood Mac, Cream, Eric Clapton, Led Zeppelin, and The Rolling Stones
The Rolling Stones
- During this Blues revival, The Rolling Stones were put together by Brian Jones to play the music he loved (American Rhythms and Blues)
- July 1962 - First gig at Marquee Club
- April 1963 - Andrew Loog Oldham became The Rolling Stone’s manager
- He created the band’s “Bad Boy” image (anti-Beatles): rude, short-tempered attitude
- 1963-1964 - Band started to record singles (American R&B)
- all singles were initially covers of Chuck Berry, Buddy Holly, and Willie Dixon
- I Wanna Be Your Man, November 1963 (written by Lennon/McCartney)
- The Rolling Stones were signed to DECA Records through the help of The Beatles
- Oldham called Lennon and McCartney to come show them how to write songs
- England’s Newest Hit Makers, May 1964
- Mostly Blues covers
- Brian Jones was the leader
- King Bee, April 1964
- Blues form
- Cover of song by Slim Harpo (1957)
- What’s remarkable:
- Played by white teenagers from England, but the quality of the performance was very similar to the original track
- Jagger’s vocal performace - Where is his accent?
- He nailed the American accent
- One of the keys to the British Blues Revival; They weren’t just fans of Blues, they studied it; level of authenticity they captured is a testament
- Adult relationships in the lyrics
- (I Can’t Get No) Satisfaction, February 1965 (written by Jagger/Richards)
- See textbook for listening guide
- First US Number One pop
- Different visual experience from The Beatles
- Mick Jagger has a dangerous/darker edge to him. Jagger doesn’t hold any instrument on the stage, unlike The Beatles, so he has a mobile personality on stage and he can move around freely; a mobile, energetic, and intense presentation
- Brian Jones was unhappy with the direction of the band was going in; Was pushed back after the Satisfaction song
- This was when Jagger and Richards became the leaders
Their Music Style
- The Rolling Stones had a very loose/relaxed sound - there was improvisation, unlike The Beatles, where each note was thought about and structured for a reason
- The Beatles were rooted in the TPA era, whereas The Rolling Stones were rooted in the Blues
- This is a band that is used to working out songs overtime and allowing them to change over time
- They would roughly work out a song, and go out and start playing it
- The soung would be recognizable every time they played it, but it would be different
- Room for spontaneous changeability in small things
- They were more interested in capturing the energy of a moment/performance
- Process-oriented (more interested in the journey, rather than the destination)
- Before the Golden Age, African-Americans: Process-oriented; White culture: Object-oriented or product-oriented
- Post-Golden Age: skin colour doesn’t matter as much, bands can choose whatever they want
- Let’s Spend the Night Together, 1967
- Verse/Chorus
- Brian Jones had been drifting away from the band after Richards and Jagger started to take control; Also becoming addicted to drugs and alcohol
- 1969 - The Stone went to a tour for several months in the US
- Brian Jones had visa problems due to his drug charges in the US
- Instead of cancelling the tour, the group went to with the tour without Jones
- Jones announced that he would be leaving the band; he died 5 weeks after in a swimming pool
Other Important Bands of the British Blues Revival
- The Yardbirds (Blues Influence)
- A series of remarkable guitar players went through their ranks
- Eric Clapton
- Guitar player
- Blues purist; Similar to Jones of The Rolling Stones; The Yardbirds wanted to write originals and songs written by professional songwriters
- Clapton was unhappy with the direction, like Brian Jones, especially after their first hit, For Your Love (1965) (original song was recorded with studio recordings)
- Left The Yardbirds shortly after the first hit
- Jeff Beck
- Guitar player; Replaced Clapton
- God of guitar players (“A musicians’ musician”), very innovative, but has stage fright
- Used to deal with it by getting drunk, which made him unreliable
- Jimmy Page
- Studio guitarist
- Came in 1969, in case Beck became unreliable so he could fill in
- Became lead guitarist within a year
- Disappointed when the band wanted to call it quits in 1968, because he had given up his lucrative studio career for this band
- The band gave Page the tour they had booked in Scandinavia, and Page formed a new band The New Yardbirds. The tour was a tremendous success, and when they came back they changed their name to Led Zeppelin
- The Who (The Mods/Art Influence) The Modernists = The Mods
- Also considered parts of the British Blues Revival
- They never had a strong Blues sound
- The first group to create a full song of Rock Opera (a work of rock music that presents a storyline told over multiple parts, songs, or sections)
- “Tommy”, 1969
- “Quadrophenia”, 1973
- At the time (and much of the career) phenomenally loud band
- Played with more volume and aggression than any other band of their era
- Part of it due to the drummer, Keith Moon
- Pete Townshend (songwriter) influenced the direction of the band; He was bringing in things that was ahead of their time
- Drug influences (as early as 1965)
- Political issues
- Addressing the gap between parents and their children, the fact that the new generation was looking athe world in a very different way
- Townshend brought all of them into songs
- My Generation, 1965
- Had one the first rock bass solos
- About the generational gap
- Provocative lines: “Hope I die before I get old”, this would be prominent in 10 years, when Punk came about
- Introduced stuttering
- The Who, while still playing at clubs in London, became very popular with a subculture called The Mods (The Modernists)
- The Mods were the enemies of the Rockers (The Beatles’ first image)
- The Mods were sophisticated, well-dressed, wore sharp suits, Vespa Scooters (defining feature) with lots of mirrors and lights
- The Mods loved dancing and taking amphetamines; the drug usage causes you to start thinking faster than you can speak, and that causes stuttering (a sign of amphetamine use), which was what Pete Townshend was referring to
- Everyone in that generation understood the reference
- The Who was also famous for smashing guitars on stage at the end of major gigs
- Why? Pete was experimenting with “what is a performance?” -> The art world in the 1960s was very experimental. Some ideas:
- Real art happens in the moment and real art is something that your experience, and it won’t happen again
- A “happenin’” was an artistic event; art isn’t a picture that hangs on the wall, art is something we live in, and it surrounds us
- Pete Townshend: Instruments are just tools, and what’s important is the experience
- Similar to breaking glasses after a toast: that vow or promise you just toasted to cannot be alterted or taken back
- The concert you just saw will never be seen again, because the instruments that made it possible are now destroyed
Soul Music
- Development connected to the Civil Rights movement and the development of African-American identity.
- Late 1950s into the early 1960s - growing anticipation of civil rights.
- Rejection of Blues as the sound of the past, rural south, and slavery
- R&B music was too rough, and it didn’t have class anymore that seemed like it was “worked out”. African-Americans were starting to find equality
- Pop music within black culture is profoundly linked to the idea of African American identity and the Civil Rights movement
- Soul music is often a reflection of the success and then growing failure of the movement
New sound of the urban - Soul Music
Soul Music is a fusion of 3 elements:
- Vocal style comes from Gospel
- Gospel music, and this vocal style were thought be definitively African-American
- Soul music needed to be optimistic and yet also rooted strongly Black Culture; They wanted to look at a brighter/urban future
- So Soul artists turned to Gospel music (Ray Charles in particular) to provide optimistic black music
- Rhythm and back beat of R&B
- Strong back beat, because Soul music is supposed to be meant for dancing and celebrations (hency why the groove is so important)
- They took the beats of R&B and sped them up
- Arrangements and lyric styles from TPA
- More playful, less sexual
- Light pop lyric structure
- Soul music was reflective of the change that was becoming of African-Americans
- Blacks were now urban, lower/middle-class people
- Because of this, they thought they “outgrew” R&B
- So they took from TPA - the instrumental arrangements are what we would associate with TPA
Important Locations for Soul Music
- Motown - Detroit = Hitsville U.S.A.
- Stax - Memphis = Soulsville U.S.A.
- Fame - Muscle Shoals, Alabama
- FAME = Florence Alabama Music Enterprises
Motown
- Founded by Berry Gordy
- Detroit was a city made by the automotive empire, hence the name “MOtown”
- First important label owned by an African-American
- Held up as a success story of the Civil Rights movement
- At the time, the most successful company in the US held by an African-American; An example of extrepreneurship of African-Americans
- Starts in 1959 - Based on Gordy’s experience in automotive plants
- Gordy applied assembly line to the music industry and to Black artists
- This had never been done where primarily Black culture was involved (only done for TPA/Major white labels)
- Assembly Line - Everything under one roof
- Song writers: Holland/Dozier/Holland, Smokey Robinson
- Maxine Powell: Finishing school (that teaches the musicians how to carry themselves in public), studied how Motown performers performed, how to act, walk, and talk
- Cholly Atkins: Choreographer; Same choreographer -> consistency
- The Funk Brothers: House band
- Result is absolute consistency of product
- You’d Better Shop Around, 1960 - Smokey and the Miracles
- Polished, restrained presentation - sophistication
- A great example of the visual presentation of a Motown artist: full suits, neatly groomed
- Positioning themselves apart from R&B artists; Motown looked formal and smooth
- Barry Gordy was trying to target white audiences
- Reason why his artists appeared safe, restrained, and controlled
- You don’t see the band
- This has gone through the TPA style of prodiction (Division-Of-Labour)
- The singers probably didn’t write their own songs
- The singers were in front and centre
- Smokey was always projecting outwards
- They were singing to the audience
- The audience was always in the constant in the mind of a Motown performer
Major Motown Bands
- The Supremes
- Visually presented in a way associated with the white upper-class
- A vocal group (girl group)
- Stop in the Name of Love, 1965
- Sound of Motown:
- Lyrics:
- About idealized romance
- Adult relationship
- Much more in-keeping with the lyrics of TPA/Brill Building/Rock n Roll
- Dance:
- A song meant for dancing
- Definitive groove
- Very easy to feel the beat, thus dance
- Vibraphone
- Found in Jazz of the time
- Jazz was the shady side of urban culture Pre-WWII
- But by the 60s, it was becoming one of America’s greatest art forms; Respectable
- dasda
Sound and Production Practice
Atlantic Records - Jerry Wexler(1917-2008)
STAX
- Formed in 1959 - Satellite Records(Stax, 1961)
- Jim Stewart and Estelle Axton
- House Band: Booker T and the M.G.s
July 14, 2016 - Lecture 12
Truckin’ The Grateful Dead (1970)
More aggressive sound develops, less obvious folk image
Acid Rock
White Rabbit - Jefferson Airplane (1967)
AABCDEF form; counterculture; Crescendo: quiet -> loud
After 1967 (Summer 1967 = Summer of Love): Youth culture becomes more politically active
Focus on civil rights and the draft/Vietnam. Youth International Party (Yippies)
Jerry Reubin/Abbie Hoffman
Music is louder - more aggressive
Return to Blues influences, Psychedelic Blues
Jimi Hendrix:
- Technical virtuoso (traditionally reserved for classically trained musician)
- Control of feedback
- Wah Wah Pedal
- “Wammy” Bar
Voodoo Child (Slight Return) (1967)
Woodstock, NY (August 1969)
Altamont, California (December 1969)
April 1970: Paul McCartney leaves the Beatles
Kent State University, Ohio (May 1970): 4 dead
The establishment wasn’t interested in what the youth had to say.
Jimi Hendrix dies (September 1970)
Janice Joplin dies of drug overdose (October 1970)
Jim Morrison (The Doors) dies (July 1971)
Shift to the “Hippie Aesthetic”
- Started by The Beatles’ “Sergeant Peppers”
- Marks the shift from Rock n Roll to Rock
- Moving from:
- Singles to albums
- Dancing to listening
- Entertainers to “serious” musicians
- FM Radio (more dominant, top 40) - AOR (Album Oriented Rock)
Hard Rock / Heavy Metal
- Sonic development from Psychedelic Blues
- To a great extent it is a response to the failure of Counter Culture
Distinction between Hard Rock and Heavy Metal
- Hard rock: mid tempo
- Distortion
- Lyrics
- Hard Rock: Chuck Berry model -> parties, girls, no school, cars, rock itself or rock n roll
- Heavy Metal: religious, mythological images, fantasy, utility of war, real response to the failure of the Counter Culture (states of instability of psychology)
Founding Bands
- Black Sabbath
- Deep Purple
- Led Zeppelin
Black Sabbath
- British
- “Dommy Music”
- Madness/Futility of war
War Pigs (from the album Paranoid, 1970)
Deep Purple
Highway Star (from the album Machine Head, 1972)
- “Berry-style” lyrics: girls, cars
- Virtuosic vocal performance during the introduction
- Use of electric organ
- Classical influences in musicianship and approach to solos
Led Zeppelin
- Once again, also British
- Grew out the The Yardbirds (British Blues Revival)
- Significant blues influence
- Also strong acoustic/Celtic influence
- Virtuosic musicianship/mastery of recording studio
- No interest in “editing” for singles
Whole Lotta Love (from the album Led Zeppelin II, 1969)
- Blues-riff-based
- Sued by Willie Dixon of Chess Records (“You Need Love”, Muddy Waters, 1962)
- Importance of control in studio


Graduated from Bhagwan Parshuram Institute of Technology, Delhi
Front-End Developer and UX/UI designer, with practical experience in project management, branding strategy, and creative direction; devoted to functional programming and information architecture.


Azim Lalani, MD
Family Medicine
Dr. Azim Lalani is a family medicine doctor in Bradenton, Florida and is affiliated with multiple hospitals in the area, including Blake Medical Center and Manatee Memorial Hospital. He received his medical degree from Jawaharlal Nehru Medical Collegein Wardha, India. He completed his residency at Family Medicine - Doctors Hospital of Michigan, Wayne State University, Pontiac, MI and has been in practice for 9+ years. He is one of 33 doctors at Blake Medical Center where is currently practicing. He was previously at Pinnacle Medical group for the last 9 years. The procedures & conditions he treats are below.
Medical School
Jawaharlal Nehru Medical College, Wardha, India
Residency
Family Medicine - Doctors Hospital of Michigan, Wayne State University, Pontiac, MI
Certifications & Memberships
American Board of Family Physicians
Current Affiliations
Blake Medical Center
Gender
Male
Languages Spoken
English, Hindi, Marathi, Gujarati
Procedures & Conditions
Family Medicine; School Physicals; Wellness; Adult Medicine; Sports Medicine; Cardiovascular Prevention; Hypertension; Diabetes; Cholesterol Management; Sick Visits; Acute and Chronic Illnessess; Minor Skin Surgery; Joint Injections; Mole Removal; Dermatology; Pediatrics


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| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
java.lang.Object FieldSet atg.integrations.taxware.ZipResultItem
public class ZipResultItem
The ZipResultItem class represents the result of a request for zip verification information. It defines a few convenience functions for accessing commonly used properties, but allows the generic accessor functions for FieldSet to be used for other properties.
See the verazip documentation for a detailed description of what the various fields mean in practice.
ZipRequest
,
ZipResult
,
VeraZipCaller
,
FieldSet
,
OutputRecordDef
| Field Summary | |
|---|---|
static java.lang.String |
CLASS_VERSION
|
protected static RecordDef |
m_recordDef
Holds the pointer to our static RecordDef object. |
| Method Summary | |
|---|---|
byte |
compareItem(ZipResultItem itemCompare)
Returns an integer representing which fields differ. |
protected void |
createRecordDef()
Create our recordDef object. |
java.lang.String |
getCityName()
Return the city name. |
java.lang.String |
getCountyCode()
Return the county code. |
java.lang.String |
getCountyName()
Return the county name. |
java.lang.String |
getFirstZipCode()
Return the first zip code. |
java.lang.String |
getGeoCode()
Return the GEOCODE. |
java.lang.String |
getOutsideCityLimits()
The possible return values of this method are.. |
java.lang.String |
getSecondZipCode()
Return the second zip code. |
java.lang.String |
getStateCode()
Return the state code. |
boolean |
isOutsideCityLimits()
Deprecated. This method is deprecated use getOutsideCityLimits()
The possible values of this field have been extended to include another field, 2,
which indicates location is at police jurisdication. But since this method assumes
that the field contains only two values, this method has been modified to return
false even if the location is at police jurisdication to provide backward compatibility.
To use this field use the method getOutsideCityLimits() which gives the accurate
result. |
static void |
main(java.lang.String[] rgArgs)
Dump out our fielddefs. |
boolean |
matchesCityStateZip(java.lang.String pCity,
java.lang.String pStateCode,
java.lang.String pZip)
Return true if pass in City, StateCode and ZIP match the contents of the result item. |
| Methods inherited from class java.lang.Object |
|---|
clone, equals, finalize, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait |
| Field Detail |
|---|
public static java.lang.String CLASS_VERSION
protected static RecordDef m_recordDef
| Method Detail |
|---|
protected void createRecordDef()
public static void main(java.lang.String[] rgArgs)
public java.lang.String getStateCode()
public java.lang.String getFirstZipCode()
public java.lang.String getSecondZipCode()
public java.lang.String getGeoCode()
public java.lang.String getCityName()
public java.lang.String getCountyCode()
public java.lang.String getCountyName()
public boolean isOutsideCityLimits()
getOutsideCityLimits()
The possible values of this field have been extended to include another field, 2,
which indicates location is at police jurisdication. But since this method assumes
that the field contains only two values, this method has been modified to return
false even if the location is at police jurisdication to provide backward compatibility.
To use this field use the method getOutsideCityLimits()
which gives the accurate
result.
public java.lang.String getOutsideCityLimits()
public byte compareItem(ZipResultItem itemCompare)
public boolean matchesCityStateZip(java.lang.String pCity, java.lang.String pStateCode, java.lang.String pZip)
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Life Blog
I created this blog to improve my life.
I used to use Naver Blog, which is a popular blogging platform in South Korea. However, I realized that it limited my ability to connect with friends from around the world.
With this new blog, I plan to share my studies, hobbies, and personal experiences. Hopefully, it can be a helpful resource for others who are studying similar topics. Additionally, I hope to use it as a portfolio to showcase my work.
And who knows, maybe it will even help me make new friends internationally.
thank you


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the and {background margin {border-style for with COVID- px;} #ffffff;} persons are respiratory (). may patients that Health increased older px; {font-family font-size have Nutr double; The been border-color border-width elevated from pandemic solid; spread there {font-style {font-weight began bold courier; disease droplets. em; has pt;} social this


PSA Cryptography API 1.0
- Introduction
- Design goals
- Functionality overview
- Sample architectures
- Library conventions
- Implementation considerations
- Usage considerations
- Library management reference
- Key management reference
- Cryptographic operation reference


I have been smoking pot for a while and have become very comfortable with doing so and have even had some mild trips from smoking highly potent bud. But other than that I had no experience with any type of psycadelic. My friend who is very into natural mind altering drugs and such, purchased a plentiful amount of extremely good mushroom caps. We planned it out so that me and my friend would go over to his grandparents house with another mutual friend and his girlfriend.
We both ate our mushrooms (me, 2 grams and likewise with my friend) feeling very ready and comfortable. By the way, my friend had tripped about 2 other times during the summer. As we played pictionary while waiting for the effects to come on I felt an unbelievable surge of giddiness. Both my friend and I could not stop laughing at the couple we were with (they were not tripping). I felt very comfortable with what was happening. Slowly this would change. As things truely started to become distorted we all decided to go outside.
Before even being able to get out of the house I felt a surge of sadness. It was the most pure and untouched genuine sadness I had ever felt. My other friend's girlfriend (who was not tripping) gave me a hug and I can not begin to explain how comforting that felt. At this point my emotion were feeling extremely vulnerable. I am very glad that we were in a most chill place without many people. As I said my emotions were very unstable, earlier I commented that the skyline looked very panoramic, upon saying so the mutual friend's girlfriend seemed to disagree with me and I almost cried.
As we went outside I was tripping balls. I was tripping and I was tripping hard. My friend who was tripping realized this and quickly pulled out a hash rolled joint. We seperated from the couple and sat on the deck and smoked the joint. It felt so good to smoke, my friend just listened to me and let me try to just explain what I was feeling as we toked on the joint together. He played much of the role of a shaman. I felt and thought things that I couldn't even explain in words. I truely saw myself as myself and understood my life and my relationships with others.
We continued to talk for what felt like hours. After so we got up and both felt the most amazing sensation. We both agreed that we felt one with the earth and extremely powerful. Most amazing were the trees. The trees had an ora and power to them that was truely amazing. My friend all of a sudden started dancing wildly and this was so funnnnny. I have never laughed soo hard. I was rolling around laughing. My lungs hurt I was laughing so hard. Later we decided to investigate the pool.  It looked like a vortex and we could feel ourselves being sucked into it when we put our hands in.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


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mod_auth.c
file, and
is compiled in by default. It provides for user authentication using
textual files.
The AuthGroupFile directive sets the name of a textual file containing the list of user groups for user authentication. Filename is the path to the group file. If it is not absolute (i.e., if it doesn't begin with a slash), it is treated as relative to the ServerRoot.
Each line of the group file contains a groupname followed by a colon, followed by the member usernames separated by spaces. Example:
mygroup: bob joe anne
Note that searching large text files is very inefficient;
AuthDBMGroupFile should
be used instead.Security: make sure that the AuthGroupFile is stored outside the document tree of the web-server; do not put it in the directory that it protects. Otherwise, clients will be able to download the AuthGroupFile.
See also AuthName, AuthType and AuthUserFile.
The AuthUserFile directive sets the name of a textual file containing the list of users and passwords for user authentication. Filename is the path to the user file. If it is not absolute (i.e., if it doesn't begin with a slash), it is treated as relative to the ServerRoot.
Each line of the user file file contains a username followed by a colon, followed by the crypt() encrypted password. The behavior of multiple occurrences of the same user is undefined.
Note that searching large text files is very inefficient; AuthDBMUserFile should be used instead.
Security: make sure that the AuthUserFile is stored outside the document tree of the web-server; do not put it in the directory that it protects. Otherwise, clients will be able to download the AuthUserFile.
See also AuthName, AuthType and AuthGroupFile.
Setting the AuthAuthoritative directive explicitly to 'off'
allows for both authentication and authorization to be passed on to
lower level modules (as defined in the Configuration
and
modules.c
files) if there is no userID or
rule matching the supplied userID. If there is a userID and/or
rule specified; the usual password and access checks will be applied
and a failure will give an Authorization Required reply.
So if a userID appears in the database of more than one module; or if a valid require directive applies to more than one module; then the first module will verify the credentials; and no access is passed on; regardless of the AuthAuthoritative setting.
A common use for this is in conjunction with one of the database
modules; such as mod_auth_db.c
, mod_auth_dbm.c
,
mod_auth_msql.c
, and mod_auth_anon.c
. These modules
supply the bulk of the user credential checking; but a few
(administrator) related accesses fall through to a lower level with a
well protected AuthUserFile.
Default: By default; control is not passed on; and an unknown userID or rule will result in an Authorization Required reply. Not setting it thus keeps the system secure; and forces an NCSA compliant behaviour.
Security: Do consider the implications of allowing a user to allow fall-through in his .htaccess file; and verify that this is really what you want; Generally it is easier to just secure a single .htpasswd file, than it is to secure a database such as mSQL. Make sure that the AuthUserFile is stored outside the document tree of the web-server; do not put it in the directory that it protects. Otherwise, clients will be able to download the AuthUserFile.
See also AuthName, AuthType and AuthGroupFile.