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Speed Queen
26 Inch Coin Operated Commercial Top Load Washer

2.8 cu. ft. Capacity 4 Wash Cycles 710 RPM Spin Speed
No reviews yet Write a review!
product highlights
Stainless Steel Drum
Stainless Steel Drum This stainless steel drum offers extreme durability in hot cleaning cycles, and the smooth quality prevents clothes from snagging during the cycle.
quick specs
Width: 25 5/8 Inch
Depth: 28 Inch
Height: 43 Inch
Capacity: 2.8 Cu. Ft.
Wash Cycles: 4
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Product Information
Brand: Speed Queen
Model: SWTT21
Type: Top Load
Color: White
Stackable: No
Location of Controls: Rear
Width: 25 5/8 Inch
Depth: 28 Inch
Height: 43 Inch
Capacity: 2.8 Cu. Ft.
Control Type: Digital
Wash Cycles: 4
Steam Cycle: No
Temperature Settings: 4
Bleach Dispenser: Yes
Fabric Softener Dispenser: Yes
Stainless Steel Drum: Yes
Leveling Legs: Yes
Maximum Spin Speed (RPM): 710
Reversible Door: No
Self Cleaning Lint Filter: No
Soak Setting: No
Water Heater: No
Payment System: Coin Operated
Usage: Commercial
Technical Details
Energy Star Rated: No
ADA Compliant: No
Amps: 15
Voltage: 120 Volts

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From the Manufacturer

At Speed Queen, they've always felt their measure is equal parts quality, technological innovation and time-tested performance. Dating back to 1908, they have been continually focused on improving their manufacturing processes and coin operated laundry equipment. Available at AJ Madison.

Today's customers need coin operated laundry equipment that is energy efficient, flexible and delivers excellent performance. Their coin laundry equipment set industry standards for efficiency and reliability. Speed Queen remains steadfast in their commitment to offering premium quality commercial laundry equipment that has their customers redefining perceived limits of productivity and profitability.

The coin operated laundry business is more than just washers and dryers. Successful coin operated laundry business owners understand the formula for profitability extends much further. As an industry leader, Speed Queen pours years of market experience into its coin operated laundry equipment. Their laundry equipment is developed with balance in mind. Washer extractors must deliver not only top-level quality washing results, but the results must be balanced with energy efficiency and water-savings. Speed Queen drying tumblers balance the same emphasis on quality with fast drying as well as efficient use of utilities. Likewise, their controls are designed to offer customers a variety of wash and dry options while being extremely user friendly.
  • Specifications
  • Features
  • Reviews

Tub Finish:
Stainless Steel
Basket Volume:
2.8 cu. ft.
Cycle Time:
28 - 31 minutes
Normal/Hot, Normal/Warm, Perm Press/Warm, Delicate/Cold
Motor HP:
1/2 HP - 9.8 Amps
Motor RPM:
60 Hz - 1725 or 1140 RPM
Spin Speeds:
High Speed 710, Low Speed 473
Water Consumption:
23.7 Gal/Cycle
Water Factor:
8.8 Gal/cu. ft.
Modified Energy Factor:
Hot Water Usage:
2.99 Gal/Cycle
Water Pressure:
1.4 - 8.3 psi
Dimensions and Weight
25 5/8"
Work Surface Height:
Net Weight:
190 lb
Shipping Weight:
210 lb
Electrical Specs:
120/60/1 - 15 Voltage/Hz/Phase/Amps
Agency Approvals:

Heavy-duty components including a stainless steel washtub, all metal transmission and a commercial-grade cabinet finish ensure an extended life for your coin laundry investment.
Speed Queen's top load washers are compliant to the 2007 U.S. Department of Energy's water and energy efficiency standards for commercial washers. Coin laundry owners benefit from significant savings in water and energy costs.
Our curved four-vane agitator delivers an industry-best 210° wash stroke that produces unparalleled cleaning results.
A durable stainless steel washtub keeps your customers clothes looking their best longer. Speed Queen's exclusive stainless steel tub actually becomes smoother with each use, so it won't pill, snag or fray clothes.

Speed Queen SWTT21 Reviews


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Workforce Development / Continuing Education

Workforce Development / Continuing Education

Workforce Development/Continuing Education courses are very different from curriculum/degree courses. Continuing Education consists of short-term, non-credit, non-degree courses and programs to meet the needs of a diverse adult community. Continuing Education courses begin and end throughout each semester, and a large number of courses begin mid-semester.

Someone might take a Workforce Development/Continuing Education course to:

  • finish high school
  • acquire or improve specific job skills
  • learn how to use a computer, palm pilot, or digital camera
  • complete course work for professional certification
  • learn Spanish or learn English
  • become a notary public, a firefighter, an EMT, or a paramedic
  • learn how to paint, sew, decorate a cake or a room, upholster, or dance

Courses are developed at the request of the general public, local industry, or community organizations. They tend to be of short duration, from one day workshops to ten weeks or longer. All of the courses are designed to offer convenience and quality instruction at a reasonable cost.

Courses are offered on the main (Graham) campus, at the Dillingham Center (1304 Plaza Drive in Burlington), and at approximately 30 churches, businesses, and other locations throughout Alamance County. More than 250 courses are available online via the Internet. A complete list of public locations where classes are offered appears in the course schedule.

Courses and programs in Continuing Education include Business and Industry Services, Personal Interest, Academic & Career Readiness (GED, AHS, ABE, ESL, CED), Occupational (job-related training, professional certification, computers), online courses, and the Small Business Center.

For a description of each program, the contact persons, and additional information, click on the appropriate link to the left.

click to download spring 2018 schedule on PDFDownload the Spring 2018 Tabloid (PDF)

Download Instructor Handbook (.docx / Word)

Download Student Handbook (.docx / Word)

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PI Name:
Robert A. DiStasio Jr.
PI Email:
Princeton University
Allocation Program:
Allocation Hours at ALCF:
350 Million
Research Domain:

A highly accurate and detailed understanding of the microscopic structure of liquid water is of great importance to a number of fields, ranging from biology/biochemistry to energy storage and electrochemistry. At present there is no experimental methodology available to directly obtain the real‐space microscopic structure of liquid water. Computer‐based simulations can provide this information in a relatively straightforward manner. However, the quality of computer‐based predictions relies heavily upon the accuracy of the underlying potential used to describe the intra‐ and inter‐molecular interactions present in liquid water.

In this work, we seek to utilize highly accurate state‐of‐the‐art ab initio molecular dynamics (AIMD) simulations in conjunction with large‐scale massively parallel computer architectures to investigate the structure of liquid water in three different and important aqueous environments: (1) dilute aqueous ionic solutions, (2) a catalytic metal‐oxide interface, and (3) extreme aqueous environments. Each of these three environments represents drastically different underlying water structures. The outcome of this project will be an improved understanding of water which will aide advancements in a broad range of scientific and technological research frontiers.


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Center: Open Today - noon - 5pm

In the Shadows: Photography by Howard Bingham

Celebrate the legacy and work of the late Howard L. Bingham, Muhammad Ali's best friend and personal photographer. In the Shadows features never-before-seen photos taken over four decades of Howard's career, capturing significant historical events in the United States, from social activism to pop culture, while revealing intimate photos of Muhammad Ali. This exhibit illuminates the relationship that the Ali Center shared with Howard in his role as the Center's Honorary Curator of Photography and as an unforgettable longtime friend of Muhammad Ali...

Howard Photo Ali


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Kenya protests EU’s ‘disdainful’ release of elections report

By Daily Nation

Kenya on Wednesday protested the release, by the European Union, of an elections observer mission report without Nairobi’s input, calling the move unprocedural, condescending, and disdainful.

The head of the EU mission to Kenya during last year’s General Elections, Ms Marietje Schaake, released the findings Wednesday afternoon in Brussels, Belgium, and immediately attracted the ire of Kenya’s ambassador to Belgium and the EU, Mr Johnson Weru, who called the move “condescending”.

Ms Schaake explained that she would have preferred to release the report in Nairobi but the government was unwilling to receive her. And, with the deadline agreed in a June 8, 2017 memorandum of understanding between the EU and Kenya on when to release the report fast approaching, she decided to do it from a “remote” location.

But Mr Weru called Ms Schaake’s actions “unprocedural and premature”, saying it was she who had gone against the MoU between Kenya and the EU.

“Her actions are disdainful and condescending, and offend the multilateral understanding under Article 8 and 96 of the Cotonou Partnership Agreement between EU and 79 countries,” he said in a statement.

The report, among others, faults Jubilee’s use of state resources to campaign, intimidation of judicial officers after the annulling of the August 8 presidential election results, violent acts by opposition supporters against election officials, and the long time it takes to prosecute electoral offences.

Ms Schaake had, in an EU parliament webcast, said “this is one of the very few times” that a presentation of an EU election observation mission final report was taking place in the European parliament “instead of the country where we observed”.

She noted that her team was “entirely prepared” to come to Nairobi this week for presentation of the 75-page final report and the recommendations, but there was a hurdle.

“We’ve understood that the Kenyan Government is not prepared to receive us within the terms foreseen in the memorandum of understanding signed between the EU and Kenya; because that specifies that we will present our final report within three months of the Election Day,” she said.

Speaking with the Nation later, she said: “I cannot speak for the government of Kenya, but it was made very clear they were not prepared to receive us at this time.” And, in an interview with the Financial Times, she said Kenyan officials wanted the release postponed.

“I can only speculate, but they’ve said before they were not happy with what we’ve had to say,” Ms Schaake told the publication.

But Mr Weru, in a statement, said Kenya was in constant consultation with Ms Schaake’s team and was, in fact, supposed to hold a meeting Wednesday “which has been rendered nugatory by this action”.

The EU mission had also planned a meeting with Nasa on January 12 and it now remains unclear whether it will happen.

 “The Government of Kenya has, through diplomatic channels, been in consultation with the EU-EOM (Election Observation Mission) on scheduling for the release of the report in Kenya in line with the stipulations of the MoU,” he said. “In the latest communication of January 6, 2018, the EU-EOM had confirmed its agreement to scheduling the visit for between mid-February and mid-March 2018.”

In Mr Weru’s view, Ms Schaake’s “rushed” release was a betrayal.

“It is my belief that the EU, with its strong desire to be a key actor in sustaining a rule-based international order, cannot afford to have its agreements with partner states like Kenya flouted with such cynical ease,” he wrote.

“We regret this political grandstanding as it has broken the aims and procedures of the EU-OEM, well-captured in its MoU with the Government of Kenya. We further regret (Ms Schaake’s) personalisation of the mission, including her addressing a letter to the Kenyan Government, on her personal stationery in her own personal capacity, and note that this action is an escalation of a political position she took during the process when she should have, in fact, been a neutral actor.”

The final report, uploaded on the EU website after Ms Schaake’s address, has 29 recommendations which the observers say Kenya has to implement if it has to improve its election procedures.

They include strengthening independent institutions, promoting democracy within political parties, and developing the Kenya Broadcasting Corporation into a “genuine public service broadcaster with full editorial and financial independence”.

The observers question a long-held requirement that people aspiring to be leaders need not be bankrupt. They also wonder why there are educational requirements for vying.

The EU also accuses Jubilee of using its incumbency to abuse state resources. “However,” it adds, “the advantages of incumbency at county level were evidently to the benefit of both political camps. During the 141 rallies watched by observers, 27 instances of misuse of state resources in 16 counties were witnessed.

“These included 18 instances involving Jubilee and four involving Nasa. This primarily concerned the use of official county and national government vehicles to and from campaign events, including one military helicopter in Makueni County.”

To prevent this, they recommend enforcement of the ban on using public resources to campaign, “including removing the exemption for Cabinet secretaries and members of county executive committees”.

The observers’ general take is that the repeat presidential election was much improved than the first one, with greater standardisation of results forms, enhanced transparency through the projection of tallying at constituency centres, and extensive electronic transmission and display of results forms.

The team also notes that the opposition and its supporters assaulted and intimidated polling staff, attacked IEBC offices, and disrupted electoral preparations.”

The team also wants timelines for prosecuting electoral offences shortened and a ceiling placed on how long disputes from nominations should last.

It also accuses Jubilee leaders of “harsh rhetoric against the Judiciary” and “intimidation of civil society”, both of which were “not consistent with international commitments and good practice for democratic functioning”.


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ProcureCon Indirect East 2018

February 20, 2018 - February 22, 2018

Omni Amelia Island
39 Beach Lagoon Road
Amelia Island, FL 32034

Booth #203

Allegis Global Solutions (AGS) will be sponsoring ProcureCon Indirect East in February. Bruce Morton, Global Head of Strategy, will be presenting on Tuesday, February 20th at 4:40PM EST, discussing artificial intelligence (AI) in the Services Procurement space.  Bruce will also lead a ProcureCon Partner Roundtable session on Wednesday, February 21st at 2:40PM EST, engaging a deep dive discussion into AI and the Services Procurement space with other services solutions providers at the conference. Erin Moore, Director of Human Capital Solutions, along with Paul Gartland, Executive Director of Services Procurement will also be in attendance.

ProcureCon events are an inclusive experience: you're encouraged to interact and network with everyone and anyone at the conference, at any time during the event. The conference agendas are built through months of market research and interviews with procurement practitioners, to make sure they reflect today's core challenges and opportunities. You will learn not just how to do a better job today, but prepare for the job you'll be doing tomorrow.

If you’re interested in learning more about this exciting conference please contact Lauren Patton at

Get Directions >


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"Do you need a simple storage solution for your desk or shelves? This is a very easy project that can be done in a short amount of time using cotton yarn, items from your pantry and some simple crocheting skills. They are sturdy and once you are done you cannot tell that they used to take up space in your pantry! Use bright and colorful yarn to add some flair to your home decor and storage."

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As a former Scout leader, Ive made similar containers from recycled materials before. This pattern is very nicely written, but I did find one point of confusion. After the sleeve is placed in and over the oatmeal container, Im having a hard time visualizing the next step. A photo, or better yet, a series of photos would greatly help clear up the confusion.

This is such adorable storage! I'd actually look forward to getting organized with something this cute. What better way to store your crafting supplies than with your own creation?

A terrific and simple storage solution can be made using some recyclables that you would normally throw away. They can be upcycled to use on your shelves or desk at home and or at work. No one ever has to know that they are made from stuff most people throw away. They are very sturdy and last.

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Posts Tagged ‘Almarhum Keledepiku’

An interview with James Morgan, director of the video for Cucurucu by Nick Mulvey

National Geographic photographer James Morgan shot the beautiful video for Cucurucu in Indonesia. I found out about this intriguing collaboration.

Written by Amelia Gregory

Nick Mulvey by Kaja Szechowsko

NIck Mulvey by Kaja Szechowsko.

Nick Mulvey, former founding member of Portico Quartet, releases new single Cucurucu accompanied by a stunning video shot on Nihiwatu beach in Indonesia by National Geographic director James Morgan, filmed in March 2013. Nick says: "I felt this song needed a video with wide expanses. Space to wonder. I didn't have to look too far for the right film maker - James is a friend of mine, and I've loved his work for National Geographic. I knew he'd understand what I was after and have something special in his vaults…" So we caught up with James Morgan to find out more, and see further examples of his beautiful photography.

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If you are just browsing http://www.americanexpress.co.id, a cookie identifies only your browser. If you become a registered user on an American Express Web site (with a designated user ID and password), we use cookies so that we can provide customized information that we believe will be of value to you based on preferences indicated, other information we have about you as an American Express customer, as well as information available from external sources. It is possible to set your browser to inform you when a cookie is being placed -- this way, you have the opportunity to decide whether to accept the cookie. If you are just browsing our site and are not a registered user, you do not have to accept a cookie and you may still continue utilizing the site. However, if you are visiting a site where you will be accessing your confidential account information (such as Checking Your Bill), you must accept that site's cookies as they are essential for site administration and security. By accepting a cookie, keep in mind that your choice to decline E-mail offers remains unaffected. Here is how to set your cookie preferences:

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Insights, tools and research to advance journalism

A lesson in traffic, reads and conversions

“It’s such a complicated topic because they sound like they should have something in common, but often that’s not the case. You can have an article with a ton of views, but with almost zero conversions,” writes Thomas Baekdal in this useful guide looking at the three metrics. “You can’t just look at a single metric, nor can you automatically correlate one metric with another. You have to think about the behavior that causes it to happen in the first place … conversions are almost always based on an individual feeling of value for each one of your readers. And the behaviors that cause conversions are not the same as the behaviors that cause views.”

+ ESPN’s new mobile strategy: fewer apps on more screens (Gigaom); The open web is dying and the walled gardens of apps are killing it (Wall Street Journal);Why “build it and they will come” no longer works for mobile apps (TheNextWeb)

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This Strategy Study presents examples and insights about journalism innovation, offering actionable advice and methods to move your journalism and business forward.


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www.agridatainc.com Gets An Anchor Facelift

The folks at AgriData, Inc. recently worked with the team at Anchor to redesign http://www.agridatainc.com/. Focusing on their Surety® Customized Online Mapping System, the newly renovated site highlights the features and benefits of the Surety system, as well as offering an easy-to-navigate layout and examples of Surety’s custom maps and reports. AgriData, Inc. develops map-based information management systems and services for agricultural applications.


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We have seen Google pushing out a number of updates for its different apps on the Android. Some of those updates bring new features while others bring some nifty user interface changes which make the user experience better. One such UI change is being rolled out to YouTube app on Android which makes the user experience better.

YouTube has changed the way it shows search results for any singer’s name. Earlier, when you used to search for any singer, the app used to show you his/her channel along with subscriber count followed by videos. Now, YouTube has started showing two playlists at the top, All song and top tracks followed by list of albums of that particular singer. You can swipe through the list to see all the albums. When you will tap on any of the two playlists or the album, YouTube will start playing all the videos for you.

See the screenshots above for a better understanding:

You can see that it is not a major change but it is a handy one which makes sure that you start listening to your favorite singer straight away with no need of going through the search results or to the channel and then look out for the videos.

So, what do you think of this UI change? Have you received the change on your device yet? Share your thoughts with us using the comments section below. I would love to hear from you.


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One of the last destructions of the Trump administration, puts an end to the regulation promoted by Obama that guaranteed a free internet and public service.

#Trump #TrumpPolicies #NetNeutrality #internetneutrality #SaveNetNeutrality#openinternet #TheResistance

Rodriguez: “Trumpzilla” was last modified: December 20th, 2017 by ANTONIO RODRÍGUEZ “Rodríguez”

Also published on Medium.

CC BY-NC-SA 4.0 Rodriguez: “Trumpzilla” by ANTONIO RODRÍGUEZ “Rodríguez” is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

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Myanmar Consul General Pyi Soe dies in road accident

ANI | Updated: Oct 27, 2017 15:44 IST

Giridh (Jharkhand) [India], October 27 (ANI): Myanmar Consul General Pyi Soe died in a road accident in Jharkhand on Friday.

His wife and two other people suffered injuries in the incident.

Soe, who was on the wheels, tried to save a motorcyclist when his car rammed into a truck passing by this afternoon in Nimiaghat area in Giridh district of Jharkhand.

The injured, who were admitted to Mina hospital in Dumri, were later referred to Ranchi for better treatment.

The diplomat succumbed to his injuries at the hospital.

He was serving as the Consul General of the Union of Myanmar since December 2016.(ANI)


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Morgan Stanley Cut Facebook's Forecast, Then Boosted Its IPO

FacebookBy Marek Fuchs, TheStreet

NEW YORK -- Chatter about Facebook's(FB) initial public offering has made a hairpin turn, from celebrating the riches at hand to hand-wringing post-mortems on what went wrong, where and why.

After all the finger pointing and blame, there is one factor that should have served as a symptom of trouble, a certain signal that at least in this larval stage of Facebook's life as a public company, there would be regret, recrimination and loss.

Morgan Stanley (MS), the lead underwriter, cut earnings estimates in the lead-up to the offering. That is rare enough. But they did it while expanding the size of the offering and raising its price.

Curiously, most post-mortems -- including a New York Times (NYT) story titled "As Facebook's Stock Struggles, Fingers Start Pointing," mention these factors, but only as an afterthought and not specifically enough.

Reuters did well to hold their nose at the confluence of events:

"The lower revenue projection came shortly before the IPO was priced at $38 a share, the high end of an already upwardly revised projected range of $34-$38, and before Facebook increased the number of shares being sold by 25 percent."

Remember for any future offering that this is a big, flapping red flag.

As always, though, when it comes to post-mortems on events that took place only last week, perspective is in order. The Times did well to end on a fitting note in this regard, by pointing to the problematic Amazon (AMZN) offering:

"Still, the final story for Facebook's stock has yet to be written. quickly tumbled after making its public market debut in May 1997, trading well below its offer price of $18 a share for several months. A year after the I.P.O., Amazon had roughly quadrupled, and on Monday the shares closed at $218.11."

That doesn't mean that Amazon's history will necessarily repeat itself, but it might. If an underwriter, though, cuts numbers as it's raising the price of the offering and allotment: watch out. That history, in all probability, will repeat.

At the time of publication, Fuchs had no positions in any of the stocks mentioned in this column.

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Barclays CEO Says It Would Be Wrong for Him to Get 2012 Bonus

In a statement released today, Barclays CEO Antony Jenkins announced that he would forgo his annual bonus for 2012.

"The year just past was clearly a very difficult one for Barclays and its stakeholders, with multiple issues of our own making besetting the bank," wrote Jenkins. "I think it only right that I bear an appropriate degree of accountability for those matters, and I have concluded that it would be wrong for me to receive a bonus for 2012 given those circumstances."

Jenkins said he has told the board that he does not wish to be considered for a bonus award for 2012.

Jenkins, who previously served as Barclays head of consumer business, was promoted to CEO in August 2012 after Robert Diamond resigned following the bank's LIBOR scandal.

According to The Wall Street Journal, Jenkins' contract made him eligible to receive a bonus equal to $4.25 million, 250% of his $1.7 million annual salary.

The article Barclays CEO Says It Would Be Wrong for Him to Get 2012 Bonus originally appeared on

Fool contributor Justin Loiseau has no position in any stocks mentioned. You can follow him on Twitter @TMFJLo and on Motley Fool CAPS @TMFJLo.The Motley Fool has no position in any of the stocks mentioned. Try any of our Foolish newsletter services free for 30 days. We Fools may not all hold the same opinions, but we all believe that considering a diverse range of insights makes us better investors. The Motley Fool has a disclosure policy.

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Summer Escape: Anyone Staycationing This Year?

Summer Escape: Anyone Staycationing This Year?

Kate Legere
Jul 12, 2013

A summer escape is not in the cards for me this summer, so I planned a staycation for me and my Mom in and around Philadelphia over the fourth of July holiday.

I took a cue from this post on how to prep for a staycation, and we did all of our tedious errands and chores before our vacation began. Then, with a budget in mind, we grocery shopped for some special BBQ meals and picked a new restaurant we wanted to try. We did research, and took advantage of holiday deals which included a trip to the local zoo. On a particularly hot day, we opted for a matinee and followed it with a long afternoon nap. Our big splurge was a trip into the city where we imagined ourselves as tourists and took an evening boat tour. Before we drove back home, we grabbed a lobster roll and pretended we were in Maine.

This was my first official staycation, and I have to say I ended the week rested, happy, and feeling like I saw something new. I'm curious — if you're planning a staycation this summer, what will you do?

(Image: Kate Legere)

moving--truck moving--dates moving--dolly moving--house moving--cal Created with Sketch. moving--apt


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touchWelcome to A+ Athletics! We offer gymnastics programs for boys preschool gymnastics, boys recreational gymnastics, boys team, girls preschool gymnastics, and girls recreational classes. We also offer boys and girls tumbling and trampoline for all ages including a team tumbling and trampoline program. If you live in Aurora, Centennial, Parker, Littleton, Highlands Ranch, or Englewood we have one of the best gymnastics facilities around. Come check us out! We offer gymnastics classes for kids of all ages, beginning with our mommy and me (parent/tot) preschool classes all the way up to teen gymnastics classes.

In our gymnastics classes your child will be introduced to the four Olympic gymnastics events for girls and the six Olympic gymnastics events for boys. Our professional and safety-certified staff will ensure that your child is learning in a fun and safe environment challenging both their mind and their physical fitness. If you are looking for a place where your child can become a more active and physically fit child then A+ Athletics is the place for them!

Our birthday parties are a great option for any child. We provide invitations, an hour of free gym play, an enthusiastic coach to supervise and assist with the party (they will go over safety rules), tables, chairs, and 30 minutes in the party room.


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The Lewiston Tribune reports ( that Barbara Lowe and Paul Sand each received 26 votes for a White Bird city council seat in Tuesday's election.

Bette Pollack of the Idaho County Auditor's Office says each candidate must be summoned before the city clerk within six days for a final vote canvassing and possible coin toss.

Pollack says that's planned for Tuesday.

Meanwhile in Heyburn in south-central Idaho, incumbent City Councilman Dick Galbraith and challenger Glen Loveland each received 112 votes on Tuesday for that post.

Officials there say they're still trying to sort it out, but a coin toss is a possibility.

Information from: Lewiston Tribune,


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LONDON (AP) — A jury has cleared a Ukrainian man accused of plotting to blow up the Russian embassy in London after being radicalized by the conflict in eastern Ukraine.

Prosecutors said 35-year-old Vadim Bezkorovainiy searched the Internet for explosives, filmed himself with home-made petrol bombs and scouted the area around the embassy. Police found images and video files at his home they said suggested he was plotting an attack.

He denied the charge, saying he planned to return to Ukraine to fight and had made the videos for a propaganda website he was creating.

On Friday a jury at London's Central Criminal Court acquitted Bezkorovainiy of preparing an act of terrorism.

The conflict between government forces and Russia-backed rebels in eastern Ukraine has claimed more than 8,000 lives since April 2014.


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KINSHASA, Congo (AP) — Congo's top election official announced Sunday that a long-awaited presidential vote would not be held until late December 2018, months later than key opposition leaders have been seeking.

The tensions over President Joseph Kabila's continued tenure have provoked deadly street demonstrations in cities around the country since December 2016, when his official mandate ended.

Kabila can remain in power until the next election is held, although he is barred by the Constitution from seeking another term in office.

Critics have long accused Kabila of postponing the vote to maintain his grip on power in the mineral-rich country. Election officials, though, have cited widespread violence in central Congo as contributing to the delay.

On Sunday, election commission president Corneille Nangaa said voter registration would not be completed in the volatile Kasai provinces until the end of January 2018.

The presidential and legislative elections have been set for Dec. 23 along with provincial races, Nangaa said. Results are expected for the presidential ballot one week later, he said.

The leader of Congo's largest opposition party recently said that he would agree to delay the vote until June 2018 provided that Kabila steps down at the end of this year and is replaced by a transitional government.

It was not immediately clear whether key members of the opposition would accept the timeframe proposed Sunday by the commission.


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can i access external hard drive connected to airport extreme on my android phone using es file explorer

Follow this Question

1 Answer from the Community

  • I'm not sure for Airport Extreme, but I did that for my Airport TimeCapsule, it can maybe work for you :
    1 : Open the Airport Utility on your Mac
    2 : Select your You airport Extreme (A window should appear)
    3 : Open ES file explorer on your android device
    4 : Go to the fast access (swipe from de left side to the right) => select network => Lan
    5 : Click "+" (new) at the bottom left
    6 : Entre for
    - "domain" : Nothing or the name of the network (At the top into the window of airport utility)
    - "server" : the IP address
    - "Username & password" : the user name and password you use to connect to your hard drive on your Mac
    - "Display As" : The name you want it have on your smartphone
    7 : Click OK and wait.
    8 : Click on your Hard drive
    And it's done, please tell me if it has worked.
    (I don't know what anonymous does but I didn't click on it, I don't recommend you to do it)

    Was this useful? Answer 1

    3 of 6 people found this useful

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1/25/2018 7:38:29 AM
Posted: 12/31/2005 3:21:18 PM EST
Hi all,

I'm respringing my Commander and I'm a bit lost. I see tons of dirrent weights being thrown around for the mainsprings and recoil springs. What are the recommended spring weights for carry?

How about the extra-strength firing pin springs? Do they effect reliability?

Link Posted: 12/31/2005 3:45:43 PM EST
20lb.recoil spring on 4in guns.
I like 18-19lb. mainspring.( mainspring wt varies by brand)
Extra power fp springs no problem.
Link Posted: 12/31/2005 3:56:11 PM EST
From Wolfe web site

Conventional Recoil Springs - .45 ACP

Reduced Power : 12, 13, 14, 15, 16 and 17 Lb.
Factory Standard : 18 Lb.
Extra Power : 20, 22, 24, 26 and 27 Lb

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1/25/2018 7:38:29 AM
Posted: 7/20/2003 7:18:48 AM EST
[Last Edit: 7/20/2003 3:57:49 PM EST by Citabria7GCBC]
Someplace new?

I dont think I am working that day, but we shall see. Anyideas on a new spot?
Link Posted: 7/20/2003 1:37:52 PM EST
[Last Edit: 7/20/2003 1:40:38 PM EST by Slumlord]
Well I've talked to Presto99 and SC-Texas, we've decided on Two Rows in the University area. I'll post a map shortly.

Two Rows

Tuesday 7/22

Link Posted: 7/21/2003 3:09:26 AM EST
Link Posted: 7/21/2003 5:51:11 AM EST
See Ya'll There!
Link Posted: 7/21/2003 8:56:54 PM EST
honey pepper bacon smoked chedder burger and ugly mug... I think I've died and gone to heaven, no i still am not dating Miss Sweeden and haven't won the Thai lottery!!!
Link Posted: 7/22/2003 8:07:52 AM EST
i am gonna leave fencing at 7:30. should only take me a few minutes to get there. tworows is real close to fencing! c ya tonite!
Link Posted: 7/23/2003 1:42:44 PM EST
Damn, missed this one. Probably because I didn't check the board in a while?

Yeah, that could be it...

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1/25/2018 7:38:29 AM
Posted: 1/6/2006 4:24:30 PM EST
Link Posted: 1/6/2006 4:34:42 PM EST
Sorry Booger- no strays followed me home. I am sure those that came with me would have said something but I will ask to make sure. Hope you find them.

Link Posted: 1/8/2006 7:42:18 AM EST
Damn! I now it is not a huge loss, but I would be willing to help out and replace that mag just to keep things right. I wouldn't want someone to stop bringing one of the fun guns because things started disappearing. I hope it was a simple case of it was dropped into the tall grass and someone else not associated with us picked it up afterwards. I would extend that same offer to you booger, but if something has sentimental value, you just can't replace it the same way.

I hope that someone happens to look at their bags and mags and finds the misplaced items and will step forward with them.

Link Posted: 1/9/2006 4:30:31 PM EST
I can't help you either BH. Though I saw the Tommy in use that's as close as I got. Also, no extra cases here but I agree with BlackTA6. I wouldn't want to see anything happen that would keep another shoot like that occurring. Money can't replace sentiment but I wouldn't be opposed to chipping in some bux for replacements.
Link Posted: 1/10/2006 3:00:57 PM EST
No Thompson mags or case here, either.

I am sure they will turn up sooner or later.
Link Posted: 1/13/2006 7:02:18 PM EST
Sorry BH, checked our Thompson case, no 30 round in it and don't have the rifle case either.

Link Posted: 1/16/2006 2:45:25 PM EST
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  1. ArchDaily
  2. News
  3. Adjaye and Libeskind Among 6 Proposals Unveiled for Canadian Holocaust Monument

Adjaye and Libeskind Among 6 Proposals Unveiled for Canadian Holocaust Monument

Adjaye and Libeskind Among 6 Proposals Unveiled for Canadian Holocaust Monument
Adjaye and Libeskind Among 6 Proposals Unveiled for Canadian Holocaust Monument, Team Lord. Image © Government of Canada
Team Lord. Image © Government of Canada

David Adjaye and Daniel Libeskind are among six interdisciplinary teams competing to design Canada’s National Holocaust Monument. Planned for an empty, triangular site adjacent to Ottawa’s Canadian War Museum, the monument designs are currently undergoing public review before a final decision that will be made by an international jury of design and art professionals this spring. Construction is expected to begin in 2015.

Review the proposals, after the break...

Team Lord: Museum planner Gail Lord, architect Daniel Libeskind, artist Edward Burtynsky, landscape architect Claude Cormier, and Holocaust scholar Dr. Doris Berger (Toronto, Ontario)

Carved from the flat, ground plain of the historic LeBreton Flats, the Monument stands as a silent and dignified space shielded from the highway and road traffic providing controlled vistas toward the Canadian War Museum, the surrounding landscape and the Canadian Parliament. This Monument is a “Landscape of Loss, Memory and Survival” in which a star is created by six triangular volumes at each of its points organized around a large gathering space for ceremonies. Each one of these volumes provides a unique theme and ambiance for interpretation, contemplation and artistic expression.

Team Szylinger. Image © Government of Canada
Team Szylinger. Image © Government of Canada

Team Szylinger: Art historian and curator Irene Szylinger, architect David Adjaye, artist/architect Ron Arad (Toronto, Ontario/London, UK)

The monument centres on an array of thin walls or foils, each up to 14m in height and 20m in length, spaced 120 centimetres apart from each other – just enough for a visitor to pass through in single passage. While we resist prescribing an ‘experience’ or enforcing didactic content onto the memorial, our proposal does pose a central, unavoidable theme – the voyage the visitor makes through these foils must be made alone.

Team Wodiczko + Bonder. Image © Government of Canada
Team Wodiczko + Bonder. Image © Government of Canada

Team Wodiczko + Bonder: Artist Krzysztof Wodiczko and architect Julian Bonder (Cambridge, Massachusetts)

Conceptually and formally, our project responds by evoking the Holocaust and its impact on the lives of Jews who were forced to flee from their lands and communities and then found safe refuge and new life on Canadian soil. This proposal’s design thus proceeds through two fundamental, complementary gestures: exposure and immersion, which together create a layered, in-depth experience through which visitors discover and interpret both the history of the Holocaust and the memory of events which drove its survivors to Canadian shores. In this Working Monument, we literally expose bedrock in order to anchor new meanings, stories, and memories in it—in which visitors will !nd themselves immersed.

Team Saucier. Image © Government of Canada
Team Saucier. Image © Government of Canada

Team Saucier: Gilles Saucier of Saucier+Perrotte and artist Marie-France Brière (Montreal, Quebec)

The new monument is envisioned as a geological form emerging from the earth, lifting a portion of the Canadian landscape. This geological event symbolizes the process of becoming, the creation of a space for living, a place where the power of memory turns toward the future but whose roots remain implanted in a past whose repercussions we continue to live.

The monument is not merely an object erected in space as one might expect. It is a path, a passage, a form of “space-time” through whose moments of discovery and meditation we experience a range of emotions and epiphanic realizations. The “passage” is analogous in its commemorative significance to Pesach Passover, whose literal meaning is to “pass through”, to “pass over”, to “go beyond”. The passage — a “materialized memory” — is therefore comprised of these three principal stages, notions that will shape our personal experiences sensorially and cognitively. Indeed, as we pass through this architecture of memory, we are not spectators but active participants, actors.

Team Amanat. Image © Government of Canada
Team Amanat. Image © Government of Canada

Team Amanat: Architect and urban designer Hossein Amanat with artist Esther Shalev-Gerz, landscape architect Daniel Roehr, architect and project manager Robert Kleyn, and architect David Lieberman (Vancouver, BC)

For the National Holocaust Monument in Ottawa, we will represent a world torn in half. [...] This broken world is represented as a half-sphere formed in white marble. The cut of the sphere is not clean, rather it is jagged, uneven. Poised at an angle and standing 20 metres wide and 14 metres high, this bisected sphere will be a landmark recognizable from the distance, while on closer view offering an immersive experience of recognition and commemoration. Its formidable physical presence, with its pronounced and fragmented cut tilted to the sky, hovers between destruction and construction, and asks us to consider what remains, what is lost and what is, as yet, unknown. As an invitation to experience the space between these two conditions, this monument offers visitors the possibility to construct a third space between matter and memory, as a personal way of understanding and recognizing the state of partiality.

Team Klein. Image © Government of Canada
Team Klein. Image © Government of Canada

Team Klein: Leslie M. Klein of Quadrangle Architects, Jeffrey Craft of SWA Group, Alan Schwartzof Terraplan, artist Yael Bartana, artist Susan Philipsz, artist Chen Tamir, and Holocaust scholars Dr. Debórah Dwork and Jeffrey Koerber (Toronto, Ontario).

The monument creates a place of respectful commemoration, quiet contemplation and illuminating reflection. Rooted in the earth, its forms emerge from the landscape, signifying at once death and renewal, a grave-like memorial and an emblem of resurgence and rebirth. [...] The space framed by the monument creates a processional, drawing visitors into a contemplative interior, immersing them in artistic expressions of profound memory, loss and renewal, and only then leading them back out to the landscape of contemporary Canada, mirroring the arrival of survivors after the war.

These descriptions are excerpts taken from each team’s presentations.

Reference: Government of Canada, The Globe and Mail

Cite: Karissa Rosenfield. "Adjaye and Libeskind Among 6 Proposals Unveiled for Canadian Holocaust Monument" 04 Mar 2014. ArchDaily. Accessed . <> ISSN 0719-8884
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Archeotrekking Cilento – Excursions, organized tours, guided tours, school trips   |      0974 972417  -      |

Archeotrekking, around Italy and the world, offers its customers the best solutions for lovers of nature and hiking. In addition, with us you can book cruises, honeymoons, pilgrimage packages, last minute and much more!

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How Big Pharma’s Industrial Waste Is Fueling the Rise in Superbugs Worldwide

From Common Dreams:

Pharmaceutical companies are fuelling the rise of superbugs by manufacturing drugs in factories that leak industrial waste, says a new report which calls on them to radically improve their supply chains.

Factories in China and India – where the majority of the world’s antibiotics are produced – are releasing untreated waste fluid containing active ingredients into surrounding areas, highlights the report by a coalition of environmental and public health organisations.

Ingredients used in antibiotics get into the local soil and water systems, leading to bacteria in the environment becoming resistant to the drugs. They are able to exchange genetic material with other nearby germs, spreading antibiotic resistance around the world, the report claims.

Ahead of a United Nations summit on antimicrobial resistance in New York next week, the report – by the European Public Health Alliance (EPHA) and pressure group Changing Markets – calls on major drug companies to tackle the pollution which is one of its root causes.

They say the industry is ignoring the pollution in its supply chain while it drives the proliferation of drug resistant bacteria – a phenomenon which kills an estimated 25,000 people across Europe and globally poses “as big a threat as terrorism,” according to NHS England’s Chief Medical Officer Dame Sally Davies.

If no action is taken antimicrobial resistance (AMR) will kill 10 million people worldwide every year – more than cancer – according to an independent review into AMR last year led by economist Professor Jim O’Neill.

Changing Markets compiled previous detailed reports and conducted its own on-the-ground research looking at a range of Chinese and Indian drug manufacturing plants making products for some of the world’s biggest pharmaceutical companies. One of the world’s biggest antibiotic production plants, in Inner Mongolia, was found in 2014 to be “pumping tonnes of toxic and antibiotic-rich effluent waste into the fields and …

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Spring 2016 3D SMD: Conversion of EAGLE file to GCode: Initial Process

By Christine Vu (Missions, Systems, and Test) and Henry Nguyen (Electronics and Control)

A preliminary simulation was conducted to determine how to convert a PCB design on EAGLE to a Gcode/CNC file for the Makeblock X-Y Plotter Robot Kit to operate. We set up an assembly line to provide an understanding on how the Makeblock X-Y Plotter Robot Kit has potential to pick up a component and place a component down. Future works depend on the development of the project. If time is available, software will be updated.

Fig. 1

Fig. 1. Preliminary process of converting an EAGLE file to a GCode file.

Eagle Schematic & AutoCAD DXF File

We began the process of the EAGLE conversion with a PCB design. Screenshots of the process are shown below.

  1. Add 3 SMT capacitors size 0805 on the PCB (Or use any design)
  2. Go to File -> Switch to board
  3. Go to View -> Layer settings…
  4. Under Display -> Click None button -> Select Nr 23 tOrigins. This layer presents the origin of each component placed on the board
  5. Click Apply -> Click OK. The origins of the each component should only be show
  6. Go to File -> Export ->DXF

Fig. 2. A set of three 0805 capacitors placed on the EAGLE schematic.

Fig. 3. Display window of the EAGLE board. tOrigins was selected to show the origin of the capacitor (capacitor was placed on the top layer, t). Highlighted on the EAGLE board are the origins of each capacitor.

CNC File

aceConverter Download Link: http://www.dakeng.com/ace.htm

The Makeblock X-Y Plotter Robot Kit operates using Computer Numerical Control (CNC) files, which are often used with milling machines using G-code as the machine programming language. G-code are simply coordinates for a machine to navigate and trace. More information on understanding the G-code can be found here: http://www.tormach.com/machine_codes_gcodes.html

The DXF File exported by the EAGLE board was converted using a free open source application known as the aceConverter.

  1. Open aceConverter
  2. Click Open
  3. Select DXF File
  4. Click Convert

CNC File Macro

The control of the software was simplified with the implementation of a macro on Notepad++.

Information on how to run a basic macro is shown here: https://www.youtube.com/watch?v=Ks2u4MTTQbo

For our purposes, we set the macro to replace all Z-values with values to lift up (Z 18.0) and lift down (Z 34.0). After saving, this file, simulation was done to determine the placement of the reel feeders.

X-Y Plotter Simulation: NC Plot

An important aspect of the engineering method is the use of rapid prototyping and simulation. Before uploading GCode to the Makeblock X-Y Plotter Robot Kit to operate, a program was used to simulate the movement.

Gcode and NCPLOT

Fig. 4. Simulation of X-Y Plotter movement using NCPlot Program.

After using the macro in order to adjust all of our z-axis Gcode, we used a new software called NCPlot. This software is able to take .DXF and .Gcode files and simulate the actions of our X-Y plotter. I was also able to placed the reel feeder location X150.0 Y650.0 on the NCPlot editor directly. After finding the position of our reel feeder components, I was able adjust the Gcode to go to our reel feeders, pick up the component, head to the location of our first capacitor, and drop the component. This action was repeated for every component for our PCB. This program has great simulation features that allows us to visually see what our Gcode is doing. After verifying the simulation, we were able to send this file directly to our GRemote GUI and have our machine perform as expected.

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—Linda Hrycaj, senior director, strategic planning, Keystone Symposia, Silverthorne, Colorado

By: Voxer LLC
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C.W. Brabender® Instruments, Inc. for over 88 years has manufactured testing equipment designed for measuring and recording rheology, viscosity, processing development, laboratory scale compounding, extrusion, mixing applications and moisture of various polymers and for testing the physical properties and quality of various materials and food systems utilized in the food industry. Brabender® is the original manufacturer of the torque rheometer.  The recording dynamometer system was developed by Carl W. Brabender in 1930. The first recording dynamometer unit was known as the Farinograph®  and was manufactured for the Milling & Baking Industry to measure the consistency of dough.  C.W. Brabender®  Instruments, Inc. throughout the years has been setting standards by which all others are judged, thus becoming synonymous with valued leadership, trusted experience and reliable service.  As a forerunner in manufacturing testing equipment, laboratory scale compounding, extrusion, mixing applications and moisture, The Food Division of C.W. Brabender® has delivered the highest quality instrumentation to attain the desired results demanded by Quality Control, Product Development, Research Applications environments and much more.

We have a modern application laboratory located at our National Headquarters, 50 East Wesley Street, South Hackensack, NJ, to benefit the interests of our customers.  An experienced technician shall attend to the specific needs of each and every individual, and shall remain present throughout the entirety of the test and trial periods in order to assist in the customer's quest for desired results.  The C.W. Brabender®  Instruments, Inc. Applications Laboratory is located on-site in South Hackensack, NJ.  The lab conducts applications research and testing and also offers technical services to support new and existing clients in food industry.

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Answer on Statistics and Probability Question for srijita

Question #11124
Ten cards numbered 1 to 10 are mixed in a hat.Two cards numbered p and q are drawn from the hat.What is the probability that p+q=10?
a) 2/5
b) 4/9
c) 7/45
d) 4/45
Expert's answer
a) 2/5b) 4/9
c) 7/45
d) 4/45

The total number of all pairs (p,q) from numbers 1..10 is equal to
10 * (10-1) / 2 = 45

Notice that only the following 4 pairs (p,q) has property p+q=10:

Hence the probability that p+q=10 is equal to

Answer: d) 4/45

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“There’s not enough basslines in techno, it’s all loops and serious drum attacks.” Greg Scarth sat down with the Edinburgh-based producer for a chat about music, gear and why he doesn’t support independence for Scottish techno.

21 years in to his music career, Neil Landstrumm still doesn’t buy in to the idea of doing things by the book. For a start, his career as a producer has run in parallel with a successful career in graphic design, creating 3D work and video for clients including MTV and Grand Theft Auto developers Rockstar Games, as well as a period living in New York and working for a visual artist. (Landstrumm humbly suggests that his graphics career “peaked quite early”.)

As we chat, we go off on tangents about renewable energy (he’s currently studying for a master’s degree on the subject), motorcycle trials (his Montesa 315R takes pride of place alongside his Roland TR-909 in his studio) and forecasts for the global financial markets. The fragmented conversation reflects Landstrumm’s approach to music, which has moved from classic 90s techno for the likes of Tresor and Peacefrog, through hip-hop beats and dubstep-influenced albums for Planet Mu, to his current release for Gesaffelstein and The Hacker’s Zone imprint.

He doesn’t have a Facebook fan page (“I object to those,” he explains), preferring instead to keep his personal profile open so that people can look at his pictures and follow him for updates. He’s keen to discuss the importance of doing things ‘wrong’ when making music – breaking the rules, avoiding falling into the trap of following conventions and norms without questioning them – but he also tells me that he’s always approached music with quite an academic mindset, studying genres with a methodical approach.

The fact this his brand of hardware-driven improvisation has come back into fashion seems to amuse him slightly, but it’s clearly also reignited his passion for the genre. As he repeatedly states: music is fun and it shouldn’t be taken too seriously.

Organised chaos: Neil Landstrumm’s Edinburgh studio

Attack: I thought an interesting place to start might be the idea of how your graphics work relates to your music. Or even if it relates to your music. Maybe that’s an assumption?

Neil Landstrumm: Maybe, but I guess I guess I’ve always been interested in just the arts, really. I guess it was when digital production tools for audio came about, like Deck II and Peak, those sort of audio editing tools. Friends of mine in Brighton, Cristian Vogel and Mat Consume, they were very much into what was called multimedia back then. Mat did my record covers quite early on in my career and I always really enjoyed the process of suggesting images and watching how he put them together on the Mac. It was something that I always wanted to do – I understood the methodology of it, it made sense to me. He showed me After Effects, which was the tool that I decided to use. I got heavily involved in digital animation and digital video when I stayed in New York, so it kind of ran alongside my music career in the sense that it became Mac-based. I think when you’re a creative type it’s just whatever the medium is, whether you apply that to music or to graphics.

Did you study graphics at all, or are you self-taught?

Yeah, I’m completely self-taught in both music and visual art – I have absolutely no training whatsoever. I came to the conclusion after being in the design world that you’ve either got an eye, or not. I just do not subscribe to the sort of forced channelling that goes on in art colleges. For some people, it works – the art world is a very specific game, which art colleges prepare you for – but no, I’m completely self-taught. I suppose that leads to the idea of doing things all wrong.

Art education is often about creating quite rigid rules and then breaking them in minor ways, creating this kind of imperfection that I know you like. That’s quite a contrived way to create, in comparison to just breaking the rules from the start.

It becomes a rigid framework, and I’ve always thought that about music. For me it was always about learning by doing, feeling your way, and the joy of plugging the wrong thing into the wrong output, things like that. I always remember the moment – it must have been about ’91 – when I had a 303, a 606, a 707 and maybe an 808 or something like that, but I didn’t have a mixer, I just had this shitty little box designed for mixing four guitars into one or something. I remember plugging the 303 into the wrong socket of my mate’s guitar amp and it was just so overdriven. I was like wow! I had no idea that was how you did it – nobody had taught me anything. It was all just mucking around.

In some ways it’s always been the mistakes that make the best tracks. I kind of noticed that as I met more and more producers who took it really seriously, who were really hung up on stuff. I was kind of like, Yeah, but you don’t actually do anything. You’re more about wiring your patch bay the right way. My studio’s always been a bit of a mess, things are half broken, but it just seems to work.

Berlin Love Parade, mid 90s. Atari, Akai S900, Roland TR-909, TR-606, TB-303. Sequential Circuits Pro-One

Berlin Love Parade, mid 90s. Atari, Akai S900, Roland TR-909, TR-606, TB-303. Sequential Circuits Pro-One

It’s a paradox of the way so many people work these days, that you get hung up on doing things the right way and getting a clean sound, then if you want it to sound dirty you have to create that artificially. You could just do things wrong and make it sound dirty from the word go instead of adding it in later.

Yeah, I’ve straddled both eras: doing stuff on 24-track desks and doing stuff on tape with four-tracks, trying to work out how on earth you could get it on tape without sounding completely shit. People now want the sound of how it is on tape, it’s quite a bizarre loop. We were trying to get away from that, then when digital production came along it was impossible to make it sound crap. When Logic came along, or Ableton – all these tools are amazing but they’ve made it awfully clinical and sterile. I use Logic to multi-track stuff, but I’ve never given up on that idea of splitting up outputs from an Akai and that kind of stuff.

You’ve stayed loyal to certain things over the course of your career that have become trendy again in recent years. Things like analogue hardware and live performance.

Yeah, it’s been the backbone of my music. It was always live first, then recordings of live takes. Me and my mate Toby – Tobias Schmidt – and Cristian Vogel, it was always like we’d jam it out live, then maybe record three versions of it and take the best one. It’s funny how it’s all come back in fashion.

Is that still how you like to work?

Funnily enough, no. I kind of felt like the era of all that gear – 909s and all that – I just got really tired of it. It’s all just the same sounds. I still play live that way, but once I really mastered the layout of Logic and being able to have a bit more control over the production within DAWs, I kind of switched to that. I do trend to track stuff in a very live way, so I’ll build up four- or eight-bar loops of things and then I’ll lay it out. Sometimes I’m conscious that it’s not capturing exactly what I’m trying to do, but it gives you a lot more control. I know that’s what a lot of people are trying to emulate now, that sort of live jam thing, but it’s like anything: once you’ve done it to death, you don’t really want to do it any more.

I came to the conclusion that there was absolutely nothing else that I could do with the 303 that interested me.

Yeah, it’s like anything: it’s natural that these things go in cycles as new groups of young producers discover these sounds and ways of working, but if you’ve been doing it since the early 90s there’s a limit to how far you can keep going with the classic 909, 303 kind of sounds.

Yeah, I really got fed up of the 303. I kind of loved it to death. It was actually one of the first things that I got but I really came to the conclusion that there was absolutely nothing else that I could do with that machine that interested me. To punish myself, I sold it. In some ways I’ve always been into acid that wasn’t made on the 303. Some of the best records don’t have a 303 in them, like Ecstasy Club, they’re all 101s and Jupiters.

I really like Dave Smith’s Evolver, the kind of tiny matrix thing – I think that makes more interesting acid than the 303 does. It’s the sequencer that’s the cool thing about the 303, but it just became a bit of a piece that you have lying around. I decided that I was going to hone my studio down to the core pieces that I love and not have such an analogue graveyard.

You had a pretty hefty collection of stuff, didn’t you? What’s the setup now?

There’s two distinct setups, one for live and one for studio. The studio setup is the Jupiter-6, which I bought in a pawn shop in 1994 in Edinburgh and I think is my favourite piece, a Jupiter-8, an OSCar, a Sequential Circuits Pro-One… The 808 is kind of the core to trigger the analogues. What else have I got? I have a Crane Song STC-8 outboard mastering compressor. I have a 909, but that just collects dust. I’ve got a nice Midas desk, and I’ve got a DX200, which I quite like.

That kind of flies under the radar a little bit.

It does. It sold terribly. For some reason, Yamaha decided to put a one-bar sequencer in it, but it’s the heart of two or three DX7s, so it’s incredibly powerful as a module. It’s so difficult to use – FM synthesisers all are – but it’s so powerful for bass, particularly the sort of Detroity techno stuff.

I always come back to the core of the 808, the Jupiter-6 and the Pro-One.

You’ve still got a pretty decent selection of hardware then, even after stripping it down?

Yeah, it’s kind of the big pieces and I never tire of them. I always come back to the core of the 808, the Jupiter-6 and the Pro-One. The Jupiter-8, actually, although it’s a lovely piece and I think it’s the best looking synth, it’s a bit limited. It’s lovely and rich and does all those very 80s synth-pop sounds and can sound quite Radiophonic Workshop, but it can’t self-oscillate. It’s almost like it can’t get over the point you want it to.

It’s developed such a reputation that the prices have gone ballistic over the last few years.

Yeah. Mine came from Manchester and it actually had a bit of heritage in that scene, but it was absolutely mint. It sat in a flight case for 15 years and basically it’s almost trebled in price. But it’s not quite as amazing as everyone thinks it is. It’s good at certain things, but I just prefer the 6. The 6 is very sci-fi and very out-there and liquid-sounding, but it can also do very sweet, harmonic stuff; the 8 is much more orchestral and bleepy, very pure-sounding, but it just can’t get that sci-fi thing going.

That’s the core of the studio anyway. I’ve had lots of other stuff, all the hip-hop stuff like the SP1200 and MPC60. I used to have a real drum machine collection, but I’ve got a mate who works at Native and gives me these drum sample packs – or Goldbaby’s ones where they’ve spent days putting drum machines through all this amazing outboard. I’ve got an 808, but I can’t make an 808 sound that good. Apart from the sequencing, which you can’t replace, you might as well use these samples, because it sounds better.

The Goldbaby samples are hard to beat.

They’re stunning. I was fascinated with Chicago for years so in the mid 90s I researched and bought all the machines that the Chicago guys were using, things like the Casio RZ-1. I always maintain that some of the best music – not just techno or dance – is made on fuck all. Like Suicide, for example, it’s just made on a cheap synth, a kind of organ drum machine and a couple of effects, but it’s the ideas and the power and potency of the music. Or some Chicago classic, like ‘Work That Motherfucker’, it’s one machine!

That’s the classic example. Just the RZ-1.

It’s one machine and a good idea. Or some of Armani’s stuff, or Cajmere, it’s an MPC60 and a DX100. It’s nothing! And they did it in bedrooms with headphones and crap mixers. I remember meeting some of these original producers in the 90s, when they were coming through Edinburgh to play Pure. I always in my head thought people had these huge studios and they were like: ‘No, it’s in my mum’s kitchen and it’s an SP12 and a cheap mixer.’ It filled me with just this kind of like awe that you could do this stuff with nothing, you know?

It’s a good reminder of what’s important.

Yeah, a lot of people get obsessed with having the right piece of equipment. No, you just need to have a couple of bits and know them really well.

It’s interesting that you refer to the MPC and SP1200 as hip-hop instruments. Do you pick particular gear based on the type of music you’re planning to make?

Yeah, I suppose I do. I got turned on to the SP12 when I went to New York and it’s an interesting piece because it kind of bridges hip-hop culture and house, garage and rave. It was the Todd Terry machine, Frankie Bones did all his stuff on the SP1200… It’s such a pain in the arse to use but it just has that feel. That’s kind of the problem with DAWs: when you open the program you don’t really have any character to begin with, it’s such a blank slate. When you spend an afternoon with an SP1200 and a bunch of records, before you know it you’ve got a bunch of disks full of character.

It’s limited but it focuses you on the essentials, even more so than MPCs, I think.

If you look back at acid house and early 90s production in proto-jungle, they were all working in 12-bit samplers with 10 seconds or less. I met Marcus Salon, Outlander, who did a lot of production for R&S Records. He was saying that he remember when the S1000 was out, what he wanted was the keyboard version. I don’t know if you’ve ever seen a picture of the keyboard version but it’s enormous, like a grand piano with a sampler on the side. So Renaat cut him a cheque for god knows how much, he went out and bought it and that afternoon he wrote the Outlander record. He describes it as the sound of the euphoria of getting that much sample time, and the energy that was released in being able to express his ideas. These tools sort of defined what could be done. The SP1200 has this thing where it overdrives really easily and you get this kind of cracking sound, which you hear on a lot of early 90s east coast hip-hop.

The hip-hop influence on UK techno is quite interesting. If you talk to people like Kirk Degiorgio and Ben Sims they rave about the Street Sounds electro compilations, but you were into it a bit later?

Yeah, it wasn’t what brought me into it in the same way as them, because I’m just a wee bit younger, so it was more the Manchester rave thing that brought me into it. For me it was more when I went to New York and immersed myself in that culture then I backtracked and really got it.

What kind of stuff?

All the really early stuff like BDP and Marley Marl, then Kool Keith I’ve always loved, Ultramagnetic MCs. I’ve always loved the darker stuff. It was almost like being schooled. The other type of music that’s always really influenced me is dub. That Jamaican influence on British dance music is so strong.

Yeah, it always crops up every few years as an obvious reference point in a new genre. How did you get into dubstep in the first place?

I was a bit bored with the way techno had ended up. It had become very stale and limited in its ideas. Then in the early 2000s John Peel started playing Jon E Cash and all this eight-bar and sublow – it wasn’t even called dubstep then – and I was just like, ‘Wow, this sounds like the early Sheffield stuff’. I felt that what I could do was fuse that with my passion for British rave. That was the first album on Planet Mu.

It’s interesting that a lot of dubstep moved towards rave and techno a few years later. It went the opposite direction to you.

Yeah, it was really refreshing to see a new generation embracing it and enjoying it when they didn’t really know what they were referencing. It was really fresh.

How quickly did it spread up to Scotland?

It didn’t really extend up quickly but you could follow it through the internet and all that. I got turned on to Digital Mystikz quite quickly. I met Mala when he came up here to play Glasgow and there was like 15 people there, it was just ridiculous. I was kind of disappointed about how dubstep ended up but it was pretty predictable really. I kind of felt like it was in safe hands and then something went wrong, and I don’t know what. I never got to meet Loefah, but I’d love to know what somebody who was really at the centre of it thought.

It all became quite silly, really quickly. Caspa and Rusko’s Fabriclive CD was a real line in the sand, in retrospect.

Yeah, it got kind of like, ‘Who can make the most silly noise?’.

Which has happened in techno over the years, too.

Yeah, it becomes this kind of nuclear war of who can be harder. With maturity, I’ve kind of learned that techno really doesn’t have to be fast to be heavy, and once it’s fast it’s such a turn-off for a lot of people.

Your new EP for Zone is generally slightly slower tempos, but that’s an element of your output that really fits in with the label’s sound.

I’ve probably been quite fortunate in that I’ve managed to carve my own sound out of everything I’ve done. The Zone one kind of brings together elements I’ve always used. At the moment I’m doing very much a techno live act, based on quite fun dancefloor tracks, like the Peacefrog stuff I did in the 90s. It’s actually been quite refreshing going back to that, not trying to be so experimental and weird, just doing something fun.

I was listening to the recording of your set on RIOT. Fun is definitely a good word for that one.

Yeah, it’s just sort of like… basslines. There’s not enough basslines in techno, it’s all loops and serious drum attacks. No matter where I play – New Year I was in Belgrade, and Christmas I was in Munich – these are countries that haven’t had a lot of that stuff and they absolutely respond to it. Girls love a bassline! I’ve always flown the flag for British stuff in that way. I love throwing in a bit of garage and grime and Ragga Twins and stuff, the bits and pieces that make up the rich fabric of the UK dance sound. I’m proud to be part of that.

So you don’t believe in independence for Scottish techno then?

[Laughing] Well, I am an independence supporter, but when it comes to the cultural output I’m proud to be associated.

Finally, I just wanted to ask a little about how today’s techno scene compares to when you started out. How many albums were you selling in the mid 90s?

When I was doing the albums on Tresor, at its peak it was like 14,000 copies of stuff. [Laughing] Even for my little, shitty genre, it’s quite a lot of records!

That must have been a pretty decent chunk of your income at that point?

It was huge. Those were the days where I’d sold a lot of records so I could command a good advance, then there was the bonus of the return from the sold companies, then the publishing, then all the gigs to mop up. All that has gone. Mike [Paradinas, Planet Mu boss], bless him, does still give an advance – he does quite well, to be fair – but the last album I did was two years of work and I had to fight to get 500 quid for it. That is some comedown from how it was.

What kind of advances were you getting in the 90s?

At my peak, I got about 10 grand, then there’d be more on the back of that. You’d get the advance and you hadn’t done anything. It’s kind of like Bowie said: without that patronage of the arts, how can you ever innovate and shake it up? When you don’t have that, you end up with what you have today, which is a whole load of mediocre shit. Don’t get me wrong, there’s plenty of good musicians and plenty of good ideas out there, but they don’t get the push and the patronage they need.

Did you see the thing Terrence Dixon said a few weeks ago on Facebook about how if you have a day job you’re just a hobbyist and can’t be taken seriously as a producer?

Any creative job, you’ve got the administrative bit of it and the actual bit where you’re doing it, but a lot of it is just thinking and dicking around time. If you don’t have that dicking around time, you don’t generally push it forward and you don’t come up with that vibe and interaction. I find it incredibly difficult to do music full-time, but I see what he means. Either way, I’m kind of positive about music at the moment. I’ve met a lot of the younger generation recently, because of the fact the 90s techno thing’s become cool again, and I’m confident it’s in safe hands.

Neil Landstrumm’s Extreme Pleasure EP is out now on Zone Records. Find him on SoundCloudFacebook and his own website.

12th February, 2016

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London club Fabric closes doors, Native Instruments announces Maschine Jam, a Soul Session at BPM, Reloop’s new Mixon 4 DJ Controller, and a free room-modelling reverb for Focusrite customers.

London superclub Fabric closed down by local council. Following its licence review, London club Fabric has been closed down. In the New Statesman, Emma Warren put the decision into context, describing it as “another downward notch in London’s cultural reputation post-Brexit”. Writing for the Guardian, former UK government drugs advisor (CHECK) David Nutt laid the blame at the country’s drugs policy. Meanwhile, the Museum of London and Islington Council addressed claims that property interests were behind the licensing decision. Fabric will appeal the verdict and are hoping to raise £500k to cover legal costs. Find out more here.

Native Instruments announces Maschine Jam. NI announces Maschine Jam, a modern production and performance system created for fluid, intuitive track sketching. It offers versatile workflow designed to swiftly capture, develop and arrange creative ideas using tactile step sequencing and touch-sensitive performance controls for the latest Maschine software. Watch it in action above, and find out more here.

Reloop’s New Mixon 4 DJ Controller. In collaboration with Serato and Algoriddim, Reloop announce Mixon 4, their new multi-platform, high-performance four-channel DJ controller. Use Mixon 4 to explore new innovative mixing tools and the latest expansion packs with Serato DJ software, or integrate with Spotify using Algoriddim djay PRO instead, and connect to iOS devices with a Lightning connection. More information here.

UNDRGRND Sounds release Real Deep. Inspired by the likes of DJ Koze, Axel Boman, Frits Wentik and Nicolas Jaar, Real Deep weighs in at 870 MB of rich, organic and idiosyncratic loops and samples crafted with classic hardware and unique found-sound recordings. New customers get 30% off their first order. More info here.

Spectrasonics ship Keyscape from September 12th. Keyscape is a new virtual instrument featuring the largest selection of collector keyboards in the world. From “holy grail” pianos to stunning keyboards this is a another extensive product from the Spectrasonics team. More details here.

Focusrite Brings Free Room-Modelling Reverb to Registered Customers. Focusrite‘s new Plug-In Collective offers exclusive deals from the world’s leading plugin companies to registered Focusrite customers.  For September, they’ve teamed up with Eventide to offer a free, distinctive and natural-sounding stereo reverb plugin worth $199. More details here.

Chilled-out Soul Session at BPM | PRO. Following the show at pro audio exhibition BPM, which is to be held in Birmingham this weekend, Locked In will host a chilled-out session with DJ and soul legend Des Grant and live sax. Find out more here. Purchase tickets here.

9th September, 2016

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Publisher's Summary

Pulitzer Prize, Fiction, 2003

In the spring of 1974, Calliope Stephanides, a student at a girls' school in Grosse Pointe, finds herself drawn to a chain-smoking, strawberry-blonde classmate with a gift for acting. The passion that furtively develops between them - along with Callie's failure to develop physically - leads Callie to suspect that she is not like other girls. In fact, she is not really a girl at all.

The explanation for this shocking state of affairs is a rare genetic mutation - and a guilty secret - that have followed Callie's grandparents from the crumbling Ottoman Empire to Prohibition-era Detroit and beyond, outlasting the glory days of the Motor City, the race riots of 1967, and the family's second migration, into the foreign country known as suburbia. Thanks to the gene, Callie is part girl, part boy. And even though the gene's epic travels have ended, her own odyssey has only begun.

Spanning eight decades - and one unusually awkward adolescence - Jeffrey Eugenides' long-awaited second novel is a grand, original fable of crossed bloodlines, the intricacies of gender, and the deep, untidy promptings of desire.

©2002 Jeffrey Eugenides (P)2002 Audio Renaissance, a division of Holtzbrinck Publishers, LLC

Critic Reviews

Audie Award Winner, Fiction (Unabridged), 2003

" "Impressive [and] wonderfully engaging." (The New York Times) "Eugenides proves that he is not only a unique voice in modern literature but also well versed in the nature of the human heart. Highly recommended." (Library Journal ) "A towering achievement...a story that manages to be both illuminating and transcendent...[Eugenides] has emerged as the great American writer many of us suspected him of being." (Los Angeles Times Book Review) "Not only are his interpretations of the characters astonishingly credible, but his internalization of the narrative is nothing short of amazing." (Publishers Weekly)

What members say

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Sort by:
  • Overall
  • Ella
  • toronto,, Ontario, Canada
  • 06-04-07

Not exactly what I expected

I thought this book was going to be about a hermaphrodite. Although it was, the story involving Calliope Stephanides the main character in the book does not really come into play till approximately the last quarter of the book.
Instead, the book is a saga, starting back from Cal's grandparents and their journey out of Europe and to the US where Cal's parents come into play and finally Cal and his brother become part of the book. The journey is a fascinating one and quite enjoyable.
The narrator Kristoffer Tabori did a marvelous job reading and acting out this novel. It was long, but a good story, a difficult subject that was handled well.

19 of 19 people found this review helpful

  • Overall

Worth Waiting It Out

I began listening to the book and about 15 minutes into it I was kicking myself for downloading a bummer of a book.

I thought I had erased it from my reader, but discovered it was still there one day when another book I'd been listening to was over. I was out and about and had nothing else to do so I listened to this one.... and another 30 minutes later I found it starting to grow on me.

That means it took nearly 45 minutes to get into this book, but once I did, I never looked back. I listened to the rest over the next couple of days, not wanting to take off the headphones unless I had to.

If you'd have asked me during the first 30 minutes, I'd have given you a rating of 2. AS it is I give it a rating of 4 and was glad I waited it out.

70 of 73 people found this review helpful

  • Overall
  • Michael
  • Brooklyn , NY, USA
  • 05-04-03

Anything but middle.

I thouroughly enjoyed this novel both for it's content and narrator. I was packing to move, and once I got well enough into it, I lay on the couch for hours listening. Packing my apartment was delayed for three days. Eugenides' painstaking detail and insight unravel one human experience. It seemed as though I were listening to an autobiography. Tabori brought each character alive with distiction. I recommend.

178 of 188 people found this review helpful

  • Overall

Great Pulitzer Winning novel!

Few of the reviews I have read on have done justice to this magnificent narrative. "Middlesex", Jeffrey Eugenides second novel, tells the story of Calliope, a male-pseudo hermaphrodite. But the novel does not deal with a narrow political issue or become a polemic and gender or sex. Rather, the novel uses the narrator's peculiar genetic make-up (and Greek ancestry) to boil down humanity and find the common core we all share--love, sorrow, life, and death.

This novel is truly well written. Eugenides has a knack for weaving a fascinating story around historical events and changing social attitudes and customs. The narrative has just the right amount of digression--musing on such topics as race, Greek mythology and the history of Detroit. Though many authors try to use the technique of lingering of the details of a narrative, few succeed, and fewer still are able to make relevant digressions which build on the characters in the story. Eugenides succeeds at this admirably.

Though nearly so, the book is not perfect. There are times when the eccentricities of the characters become grating on the nerves, and times when such oddities seem unrealistic. But perhaps these flaws are meant to add the comic to this modern Greek tragedy. Another flaw, as I see it, of the production is the cheesy music thrown in at the most poignant moments of the narratives.

In all, this is an excellent production, and well worth the time and money. Another bonus is that listeners have the chance to listen to a Pulitzer winning narrative from an author who will likely produce other great novels (if you haven't read "The Virgin Suicides," by Eugenides, you should).

62 of 65 people found this review helpful

  • Overall
  • Deborah
  • Phoenix, AZ, USA
  • 05-23-03

If you listen to this book while driving to or from work beware... You're going to wish you hit a traffic jam. This is one of the best Audiobooks I've ever listened to. At first I thought Kristoffer Tabori was the person who wrote the book. His accents, voices and naration are second to none. And the book itself deserves the best narration possible. This book will leave you laughing an crying. It will make you want to camp out in your car.

87 of 92 people found this review helpful

  • Overall
  • Sheila
  • Loudonville, NY, USA
  • 05-26-03

I enjoy historical fiction and was interested in the setting of Grosse Pointe Michigan which I have visited. Thirty minutes into the tape I started to doubt my choice but decided to stick with it awhile longer. It was well worth it! Don't let the unusual subject matter deter you. This is a compelling story, beautifully written with an excellent narrator. It will linger on my mind for some time.

25 of 26 people found this review helpful

  • Overall
  • Judith
  • Mechanicsburg, PA, USA
  • 06-07-03

very different type novel

My usual reading fare are mysteries, ie., Harry Bosh, Hercule Poirot, so when I started listening to "Middlesex" I wasn't sure I'd bother even downloading the next two tapes. However, the narrator had a way of capturing my reluctant attention. The interwinding of the past and present was done with such finesse that I barely noticed the flawless seams. The charactors were actually visible in my minds eye even though I did not always care for them. Although it is still not the "type" of book I would probably ever read again, I've found this one to be of excellent quality with superb narration.

32 of 34 people found this review helpful

  • Overall

Very Entertaining

During the first few "pages" of this book i thought I would not be able to follow it because of the speed it was being read. Once the story got underway I was hooked. Don't let the suject matter of this book put you off. The charaters pull you into a world of Greek heritage and the lives of immigrants in the states. Any sexual reference is tastfully written. But if you have strong views against transgendered people I don't recomend you read this book. But then again perhaps you should.......

18 of 19 people found this review helpful

  • Overall
  • Karen
  • Los Gatos, CA, USA
  • 06-24-03

Awesome combo of writer and reader

The book is fascinating, well-researched, many-faceted, entertaining, and immensely engrossing. The reader is a prolific actor with an impressive resume of non-starring roles who has an incredible talent for characterization, accents, attitudes, and, especially, effective storytelling. The audio quality is also top-notch. Is this maybe the best audiobook I've ever enjoyed? Absolutely!

18 of 19 people found this review helpful

  • Overall

I bought this book thinking it would be erotic, but it was not that at all. It was very interesting and I am glad I read it. But exciting, I would not call it, nor would I call it dry. I would best describe it as interesting and worth a read.

7 of 7 people found this review helpful