Guitar Player is an American popular magazine for guitarists, founded in 1967 in San Jose, United States. It contains articles, interviews and lessons of an eclectic collection of artists and products, it has been in print since late 1967. The magazine is edited by Christopher Scapelliti. A typical issue of Guitar Player includes in-depth artist features, extensive lessons and music reviews, letters to the magazine, various front-of-book articles. In May 2006, the Music Player Network partnered with TrueFire TV to launch an internet-based television station for guitarists, it provides content similar to that of the magazine such as lessons. Guitar Player TV is provided at no cost to the user because of sponsorship. Guitar Player has a yearly competition now called "Guitar Superstar", which used to be the "Guitar Hero Competition". Guitar Player Online Joe Gore discusses his tenure as an editor at Guitar Player Past and present Guitar Player Staff Interviews Guitar Player Online Archives
Synodontis robertsi, known as Robert's Synodontis, or the large blotch Synodontis, is a species of upside-down catfish, endemic to the Democratic Republic of the Congo where it is only known from the Lukenie River. It was first described by Max Poll in 1974; the original specimens were obtained in Elombe, on the Lukenie River in what is now the Democratic Republic of the Congo. The species name robertsi is in honor of ichthyologist Tyson R. Roberts, who helped collect the type specimens. Like all members of the genus Synodontis, S. robertsi has a strong, bony head capsule that extends back as far as the first spine of the dorsal fin. The head contains a distinct narrow, external protrusion called a humeral process; the fish has three pairs of barbels. The maxillary barbels are on located on the upper jaw, two pairs of mandibular barbels are on the lower jaw; the adipose fin is large and the tail, or caudal fin, is forked. The front edges of the dorsal fins and the pectoral fins are hardened into stiff spines.
These spines can be raised into position at right angles to the body and locked into position for defensive purposes. The ability to lock the spines into place comes from several small bones attached to the spine, once raised, the spines cannot be folded down by exerting pressure on the tip; the fish has a structure called a premaxillary toothpad, located on the front of the upper jaw of the mouth. This structure contains several rows of chisel-shaped teeth. On the lower jaw, or mandible, the teeth are attached to flexible, stalk-like structures and described as "s-shaped" or "hooked"; the maximum total length of the species is 10 centimeters. Females in the genus Synodontis tend to be larger than males of the same age. In the wild, the species is not identified, it is harvested for human consumption. As a whole, species of Synodontis are omnivores, consuming insect larvae, gastropods, sponges and the eggs of other fishes; the reproductive habits of most of the species of Synodontis are not known, beyond some instances of obtaining egg counts from gravid females.
Spawning occurs during the flooding season between July and October, pairs swim in unison during spawning. The growth rate is rapid in the first year slows down as the fish age. Data related to Synodontis robertsi at Wikispecies
In mathematics, a dessin d'enfant is a type of graph embedding used to study Riemann surfaces and to provide combinatorial invariants for the action of the absolute Galois group of the rational numbers. The name of these embeddings is French for a "child's drawing". A dessin d'enfant is a graph, with its vertices colored alternately black and white, embedded in an oriented surface that, in many cases, is a plane. For the coloring to exist, the graph must be bipartite; the faces of the embedding must be topological disks. The surface and the embedding may be described combinatorially using a rotation system, a cyclic order of the edges surrounding each vertex of the graph that describes the order in which the edges would be crossed by a path that travels clockwise on the surface in a small loop around the vertex. Any dessin can provide the surface, it is natural to ask. The answer is provided by Belyi's theorem, which states that the Riemann surfaces that can be described by dessins are those that can be defined as algebraic curves over the field of algebraic numbers.
The absolute Galois group transforms these particular curves into each other, thereby transforms the underlying dessins. For a more detailed treatment of this subject, see Schneps or Lando & Zvonkin. Early proto-forms of dessins d'enfants appeared as early as 1856 in the icosian calculus of William Rowan Hamilton. Recognizable modern dessins d'enfants and Belyi functions were used by Felix Klein. Klein called these diagrams Linienzüge, he used these diagrams to construct an 11-fold cover of the Riemann sphere by itself, with monodromy group PSL, following earlier constructions of a 7-fold cover with monodromy PSL connected to the Klein quartic in. These were all related to his investigations of the geometry of the quintic equation and the group A5 ≅ PSL, collected in his famous 1884/88 Lectures on the Icosahedron; the three surfaces constructed in this way from these three groups were much shown to be related through the phenomenon of trinity. Dessins d'enfant in their modern form were rediscovered over a century and named by Alexander Grothendieck in 1984 in his Esquisse d'un Programme.
Zapponi quotes Grothendieck regarding his discovery of the Galois action on dessins d'enfants: Part of the theory had been developed independently by Jones & Singerman some time before Grothendieck. They outline the correspondence between maps on topological surfaces, maps on Riemann surfaces, groups with certain distinguished generators, but do not consider the Galois action, their notion of a map corresponds to a particular instance of a dessin d'enfant. Work by Bryant & Singerman extends the treatment to surfaces with a boundary; the complex numbers, together with a special point designated as ∞, form a topological space known as the Riemann sphere. Any polynomial, more any rational function p/q where p and q are polynomials, transforms the Riemann sphere by mapping it to itself. Consider, for example, the rational function f = − 3 64 x = 1 − 2 64 x. At most points of the Riemann sphere, this transformation is a local homeomorphism: it maps a small disk centered at any point in a one-to-one way into another disk.
However, at certain critical points, the mapping is more complicated, maps a disk centered at the point in a k-to-one way onto its image. The number k is known as the degree of the critical point and the transformed image of a critical point is known as a critical value; the example given above, f, has critical values. One may form a dessin d'enfant from f by placing black points at the preimages of 0, white points at the preimages of 1, arcs at the preimages of the line segment; this line segment has four preimages, two along the line segment from 1 to 9 and two forming a simple closed curve that loops from 1 to itself, surrounding 0. In the other direction, from this dessin, described as a combinatorial object without specifying the locations of the critical points, one may form a compact Riemann surface, a map from that surface to the Riemann sphere, equivalent to the map from which the dessin was constructed. To do so, place a point labeled ∞ within each region of the dessin, triangulate each region by connecting this point to the black and white points forming the boundary of the region, connecting multiple times to
Celtic Media Group provides publishing and pre-press services to the Irish newspaper sector. It has a digital consultancy service, it is owned by its Irish management team, following a management buy-out led by CEO Frank Mulrennan in 2012. The group was owned by Scottish media firm, Dunfermline Press Group. Celtic Media has expanded since with the acquisition of the Connaught Telegraph in 2014 and its co-ownership of Dublin People Group, publisher of Northside People & Southside People, acquired in 2018, it employs a total workforce of 110 staff and has invested in its integrated newspaper publishing system, purchased from the Newscycle company. The group's publishing titles – among them Meath Chronicle. However, both parties opted not to proceed with the acquisition due to the level of undertakings around employment levels required by the regulatory process; the print company, operated by Celtic in Navan, has been restructured with the loss of 16 jobs and the cessation of its long-standing Trinity Mirror contract.
Two new print contracts have been secured – the Northern Standard newspaper and the Racing Post Weekender title – with the Navan plant now operating on a lower cost base. The Connaught Telegraph The Anglo-Celt Meath Chronicle Offaly Independent Westmeath Examiner Westmeath Independent Southside People Northside People Forum.. List of Irish newspapers
"Liability" is a song recorded by New Zealand singer-songwriter Lorde, from her second studio album Melodrama. Lorde co-wrote and co-produced the track with Jack Antonoff, it was released on 10 March 2017, by Republic Records as the album's first promotional single. Sonically, "Liability" served as a dramatic shift from the album's lead single "Green Light", released a week prior, it is a pop piano ballad, accompanied with organs and guitar strums in the background. The lyrics detail the consequences and scrutiny Lorde's friends received from the media as a result of her new-found fame and how she learned to live comfortably by herself. Reviewers praised Lorde's vocal delivery. Lorde revealed that she was inspired to write "Liability" after an emotional cab ride while she listened to Rihanna's song "Higher" from her 2016 album Anti; the song had minor chart placements in the United States and the United Kingdom, placing at 78 and 84, respectively. The track centers around the themes of loneliness, self-love and consequences of fame from Lorde's perspective.
She performed "Liability" for the first time at Saturday Night Live in New York and at Coachella Valley Music Festival in California. It was part of the set list of her Melodrama World Tour. Lorde revealed to a crowd at a secret iHeartRadio concert she held in Los Angeles that "Liability" was inspired after a night she became "so overcome with anger and emotion", she walked about 8 to 10 kilometers before ordering an Uber to take her home. The singer stated that she cried as she listened to Rihanna's song "Higher" from her 2016 album Anti because she felt a specific feeling of "being'too much' for somebody."In an exclusive podcast interview with The Spinoff, she confessed that this track was the first ballad she recorded and was different from her work on Pure Heroine. She stated that the chords of the song felt "classic" as one could sing a Crosby, Nash & Young or a Don Henley song over them. Lorde described the writing process of "Liability" as "therapeutic" as she felt that she said everything about herself that could hurt her "coming from other people".
In her words, she wrote the "script to the worst possible outcome." She revealed that one line in the second verse was changed from "Every summer dream is eating me alive in the end" to "Every perfect summer's eating me alive until you're gone". Lorde elaborated more on the meaning behind this specific line, stating that she used the word "summer" as a metaphor for youth. Lorde confessed. "Liability" was intended to be a rap skit. The singer said. In there, she wanted to evoke the feeling of her walking away from said party down a hall, find a room, shut the door and deliver a verse and chorus of the song, she intended to have dialogue within "Liability", with someone calling her name and Lorde walking out of the room as the listener stays inside waiting for the next song to play. She refrained from doing so. Lorde revealed that in the track, there was a specific note, "deliberately missing", meant to feel like taking a breath or as if one would skip a step downstairs, she spent a couple of days in Waiheke to write the song.
Lorde recorded "Liability" in three different locations across the United States. She started recording the song at Electric Lady Studios, in New York, with Jack Antonoff and assistance from Barry McCready and Eric Eylands in engineering. Lorde and Antonoff both worked at Rough Customer Studio, in Brooklyn Heights, New York, a joint publishing venture between Sony/ATV and Antonoff. Recording concluded in Los Angeles, California. Tom Elmhirst mixed the song at Electric Lady Studios, with assistance from Brandon Bost and Joe Visciano. Laura Sisk served as the sound engineer, it was published under the licenses of Songs Music Publishing, Sony/ATV Songs LLC, Ducky Donath Music. According to the sheet music published at Musicnotes.com, "Liability" is composed in the key of D-flat major and in the common time signature. The song moves at a moderately slow tempo of 72 beats per minute, Lorde's vocals span a range of C3–A♭4, it is described by critics with guitar strums and organs in the background. Pitchfork editor Quinn Moreland opined that the song had an "unidentified mumbling male voice at the beginning, a solitary piano, a brief glimmer of organ."
Patrick D. McDermott from The Fader described "Liability" as having the "folksy unease of mid-career Bright Eyes." Time called it a "stripped-down" track, with a haunting piano melody that accompanies the singer's voice, labelled as husky. Its lyrics reveal the consequences of Lorde's rise to fame, in the lines, "The truth is, I am a toy / That people enjoy / Until all of the tricks don't work anymore / And they are bored of me." "Liability" received critical acclaim from music critics, with many commending the song's lyrical content, Lorde's vocal delivery, was called one of the stand out tracks on the record. Jon Blistein of Rolling Stone described the song as a "short but poignant song that finds Lorde grappling with fame and how it can change friendships and relationships." Blistein praised Lorde's " vocal performance". Billboard writer Andrew Unterberger commended its lyrics and Lorde's delivery, calling the song "an absolute jaw-dropper." Unterberger listed seven reasons he felt the song was a "stunner" which included its "six seconds of silence" at the beginning and Lorde's shift in narrative from her debut record.
Luis Neri Caballero Núñez was a football defender from Paraguay. He played professional football in Paraguay, had short spells in Argentina, in Deportivo Mandiyú, his son, named Luis Caballero as well played professional football in Paraguay. A central defender, Caballero played for Club Guaraní, Club Olimpia, Club Sol de América and Deportivo Mandiyú, he played for Deportivo Mandiyú from 1990 to 1994. Caballero made his international debut for the Paraguay national football team on 7 September 1988 in a friendly match against Ecuador in Guayaquil. A participant at the 1986 FIFA World Cup in Mexico, he obtained a total number of 27 international caps from 1983 to 1989. Caballero was killed during a robbery at his office in Villa Morra on 6 May 2005. Luis Caballero at National-Football-Teams.com Luis Neri Caballero at BDFA