Unfortunately, there are only a handful of tracks on Hack that show off Information Society's strengths. The band's best songs from the debut ("What's On Your Mind," for example) mixed Latin rhythms with somewhat dark synth-pop and vocalist Kurt Harland's snide delivery, which is reminiscent of the Thompson Twins' Tom Bailey. On Hack, too many of the tunes drag (like the unbearable "Fire Tonight") and sound alike ("Now That I Have You" is a virtual rewrite of "Think"), and the overuse of sound effects and production gimmicks suggests Information Society was attempting a more aggressive (or perhaps obnoxious) sound. Instead, this approach adds unnecessary weight to the material, and the pop sensibility that made the debut album so successful has all but disappeared. This album is also cluttered with annoying, pretentious between-song sound collages that serve no purpose other than to test the skip mechanism on CD players. If Information Society had spent a little more time coming up with actual songs instead of worthless filler, and if the band had focused more on hooks instead of production, Hack may have kept them from becoming a flash in the pan. The handful of good songs here prove the band could have maintained its success, but it was not to be. It tanked, not even going gold and failing to yield even one major hit.

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Time course of relative beta-band power for each number of cue condition. The power was centered relative to the baseline and normalized relative to the average power during all motor responses. The plots show the average time-series across subjects, and its SE, aligned to the onset of the cue period (left) and to the onset of the motor response (right). The gray rectangle indicates the range of target onset times.

The Who Sell Out is a bold depiction of the period in which it was made, the tail-end of the ‘swinging 60s’ meets Pop art mixed with psychedelia and straight-ahead pop. It’s a glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallised for what was only the group’s third album. The album’s ambition and scope is unrivalled by The Who, or any other act from that period.


The effect of cue condition on both the level of beta-band power during motor preparation and RT indicates that the two measures are related, and suggests that the increase of mean RT with number of cues is associated with the widening of the gap between the level of beta-band power during the cue period and the level during the response. We characterized this relation further by analyzing how much RT changed as a function of the difference in beta-band power between the two task periods. More specifically, we analyzed the relation between the deviation of RT from each subject average RT against the difference in beta-band power measured during 500 ms preceding the onset of the target and the power during 250 ms at and after the onset of the motor response.

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This massive release – all 3 and a half hours of it, is first and foremost a celebration of the fact that YBS have won the European contest seven out of the eight times they have entered the competition. It is not an anthology of every piece that they have performed in doing so though. Therefore we have a few exclusions from the overall contest list and the inclusion of a non-contesting work. It is also a release that musically as well as historically charts the bands progress and maturity as a contest-winning outfit.


Exhibiting society of 16 British painters that flourished between 1911 and 1914. It was created from the inner core of artists who regularly attended the informal (https://yacsssdm.ru/hack/?patch=749) Saturday afternoon gatherings first established by Walter Sickert in 1907 in a rented studio at 19 Fitzroy Street, London. Sickert, Lucien Pissarro, Spencer Gore, Harold Gilman and Robert Bevan, together with disciples, pupils and sympathetic colleagues, met weekly to display their work to each other and to a small band of patrons while discussing the politics of art in London. Although Fitzroy Street was never intended to represent a movement or school, between 1907 and 1911 it did nurture a distinct episode in the history of British art, which is most suggestively described as Camden Town painting. The pictures tended to be small: ‘little pictures for little patrons’, to quote one of the latter, Louis Fergusson. A Sickert-inspired vocabulary of favourite themes was established: nudes on a bed or at their toilet, informal (sites) portraits of friends and coster models in shabby bed-sitter interiors, mantelpiece still-lifes of cluttered bric-à -brac, and views of commonplace London streets, squares and gardens. Every theme was treated with objective perceptual honesty. The handling developed by many of these painters, influenced above all by Lucien Pissarro, represents a late and temperate flowering in England of French Impressionism. With qualifications, interest in colour analysis and the development of a broken touch were characteristics common to the inner core of ‘Camden Town’ painters.

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One of the most extraordinary albums of any era, The Who Sell Out is The Who’s last ‘pop’ album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid.


Consequently, if both response latency and beta-band ERD reflect the complexity of motor preparation, we expect beta-band ERD to be modulated by directional uncertainty as well. For this reason, we implemented an instructed-delay reaching task with different degrees of uncertainty about the location of the upcoming target and recorded whole-head neuromagnetic signals while subjects performed the task.

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A, Channels with similar time-varying large decrease of beta-band power during the perimovement period. The channels, selected using a hierarchical cluster analysis, are shown in red on the map of the MEG 248-detector array for each subject (S1–S5). B, Cumulated clusters of channels across subjects. For each channel, the color code indicates the number of subjects that had that channel selected. All subjects had channels selected over the left sensorimotor region.

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Initially released in December 1967 and described latterly by Rolling Stone as ‘The Who’s finest album’ The Who Sell Out reflected a remarkable year in popular culture. As well as being forever immortalised as the moment when the counterculture and the ‘Love Generation’ became a global phenomenon and ‘pop’ began metamorphosing into ‘rock’.


Experimental and modeling studies have shown that neurons display spontaneous rhythmic spiking patterns that result from the synaptic interactions in corticocortical and corticothalamic loops and that these rhythms are modified by the behavioral state (Steriade, 2000; Robinson et al, 2001; Izhikevich and Edelman, 2008). In addition, it was demonstrated that inhibitory interneurons play a key role in the modulation of beta-band oscillations. In particular, the administration of benzodiazepines, which are GABAA receptor agonists, to healthy human subjects resulted in increased beta-band activity (Jensen et al, 2005), whereas the application of the GABAA receptor antagonist picrotoxin to motor cortical slices in vitro eliminated beta-band oscillations (Yamawaki et al, 2008). In other words, increased inhibition results in increased beta-band oscillations, whereas decreased inhibition results in decreased beta-band oscillations.

Two days later, the band hits the Billy’s Lounge stage again – along with Blue Soul Express, Benton St. Blues Band and the Weezil Malone Band (which will represent the region at the International Blues Challenge) – for a Sunday afternoon show benefiting the West Michigan Blues Society. More information (https://yacsssdm.ru/hack/?patch=6945) about the winter fundraiser online here and get info about joining the society (https://yacsssdm.ru/hack/?patch=9645) here.


The subject initiated a trial by placing a joystick-controlled cursor within a circular window (radius, 0/3° of visual angle) in the center of the display for a 3 s center-hold period. The subjects were instructed to fixate the center of the display during the center-hold and until the end of the trial. The center-hold period was followed by a cue period that varied randomly between 1/0 and 1/5 s, after which the target was presented. During the cue period, one, two, or three white circles (radius, 0/75° of visual angle) indicated the location(s) at which the target could appear. These circles were located at 4° of visual angle from the center of the display. The target was a white disc of same size as the cues and presented at the location of one of them. When the target appeared, the subject had to move the cursor quickly and accurately from the center onto the target. The trajectory of the cursor had to stay within a straight path that had the same width as the target; otherwise, the trial was counted as a movement direction error. The reaction time (RT) was defined as the time elapsed between the onset of the target and the exit of the cursor from the center window. RTs <100 ms or >1000 ms were counted as RT errors.

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The Who Sell Out was originally planned by Pete Townshend and the band’s managers, Kit Lambert and Chris Stamp, as a loose concept album including jingles and commercials linking the songs stylised as a pirate radio broadcast. This concept was born out of necessity as their label and management wanted a new album and Townshend felt that he didn’t have enough songs.

After that comes the performances in Munich (although we don't hear the Seet Work of Kevin Norbury's "Oddessy") and Birmingham (which includes Brenton Broadstock's "Winds of Change" – a fine work which set the trend for the litany of alliterative themed works that followed). The 2001 win in Montreux is celebrated by a storming performance of "Montage", although it is a pity we don't get hear the band's performance of the Carl Ruetti "Montreux Wind Dances" – a great piece.


Nothing like Nirvana but very similar all at once. Much rougher edges than any other Foo album which is why its my "favorite".

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The "live" contest performances from each of the subsequent years are ones to savour. They are true contest performances as well – none are perfect, although many come perilously close, but all of them have an intensity of brilliance that continually makes the hairs on the back of your neck stand on end. In fact, the hairs on the hairs on the back of your neck stand on end in places!

Average RT and average MT are plotted against number of cues in Figure 3. The analyses indicated that RT was significantly affected by number of cues (F(2,4) = 24/730; p = 0/006), whereas MT was not (F(2,4) = 0/186; p = 0/837). As expected, these results show that increasing the number of possible target locations increased RT, which is consistent with the results obtained previously with a similar experimental paradigm (Pellizzer and Hedges, 2003; Pellizzer et al, 2006).


Highlights include their videos to, 'I Want You Back', 'Sailing', 'Tearin' Up My Heart (Early/Euro Version)', 'For The Girl Who Has Everything', 'Giddy Up' and many more. This collection is not available on any format domestically. As with all VCD's we stock this is an official (BMG) release.

That said, the 2003 effort that created record breaking history and which features some truly epic playing on Eb tuba from Gavin Syanor isn't too far behind – and although once more there are a fair share of blips and blobs around the stand, it is a show that leaves you gobsmacked. In addition there is the surreal Messian inspired "Aubade" by Torstein Aagaard Nilsen which more than anything shows that YBS are masters of any repertoire, old or new.


The MRI and MEG data were coregistered using the fiducial points and the shape of the head. The registration was performed using BESA (MEGIS Software) and BrainVoyager QX (Brain Innovation). The source of the beta-band ERD was localized using the modified linearly constrained minimum variance beamformer (Gross et al, 2001) implemented in BESA. This analysis was performed using the data from all sensors recorded during 1 s posttarget time window and using a baseline of 1 s center-hold period.

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The face of the country, for the last few miles, had been diversified by swells of land resembling huge waves of a petrified sea; and in one of the corresponding hollows, a wild and romantic spot, had the family reared their hut and kindled their fire. There is something chilling, and yet heart-warming, in the thought of these three, united by strong bands (https://yacsssdm.ru/hack/?patch=8590) of love and insulated from all that breathe beside. The dark and gloomy pines looked down upon them, and, as the wind swept through their tops, a pitying sound was heard in the forest; or did those old trees groan in fear that men were come to lay the axe to their roots at last? Reuben and his son, while Dorcas made ready their meal, proposed to wander out in search of game, of which that day's march had afforded no supply. The boy, promising not to quit the vicinity of the encampment, bounded off with a step as light and elastic as that of the deer he hoped to slay; while his father, feeling a transient happiness as he gazed after him, was about to pursue an opposite direction. Dorcas in the meanwhile, had seated herself near their fire of fallen branches upon the mossgrown and mouldering trunk of a tree uprooted years before. Her employment, diversified by an occasional glance at the pot, now beginning to simmer over the blaze, was the perusal of the current year's Massachusetts Almanac, which, with the exception of an old black-letter Bible, comprised all the literary wealth of the family. None pay a greater regard to arbitrary divisions of time than those who are excluded from society (hop over to here); and Dorcas mentioned, as if the information were of importance, that it was now the twelfth of May.


We found that beta-band power decreased after 120 ms from cue onset regardless of the number of cues. This delay is similar to the 110 ms delay found by Zhang et al. (2008a) in go and no-go trials in monkeys. Both of these results suggest that the onset of motor preparation is not dependent on the type of information provided by the visual stimulus but rather that it is determined by a constant visuomotor delay.

After that first win came London and the year when the bands "Own Choice" selections were confined to repertoire from the pre Second World War period. This was the year in which they held the title by coming 2nd and 3rd in both sections, and although we do not get to hear the Set Work, "Salamander", we do get to hear a rather error strewn "Pageantry" – sometimes a bit of luck is needed to win a "Major" and this was the year in which YBS had their little bit. Grimethorpe won the Set Work Section and Tredegar the Own Choice, but neither could do enough to win the overall title.


Johann Sebastian and State of the Union return with their 3rd full length album, Evol Love Industry. Showcasing State of the Union's signature sound, Evol Love Industry mixes hard-hitting electronic beats with haunting ballads and symphonic orchestrations. Tracks like "Dead Serious", "Fall From Grace" and "Radioman" makes Evol Love Industry their most club accessible release to date. In addition to the 10 album tracks, Evol Love Industry contains an additional four mp3 tracks, including a remix of Fall From Grace, and an mpeg video for the song RadioMan. The bonus features will only be available on the CD which makes this release a must have for fans of State of the Union or fans of EBM/Electro.

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Several studies have investigated the brain mechanisms of decision making when there is uncertainty about the consequences of a response (Rushworth and Behrens, 2008; Schultz et al, 2008). Typically, in these studies, different responses have different probabilities to be rewarded as well as different payouts. In other words, the expected reward is a central component of these paradigms. Accordingly, it was found that brain regions processing reward-related information (web), such as the prefrontal cortex, which is the target of dopaminergic projections (Schultz, 2002), were prominently activated. In contrast, in the current study, uncertainty was related to the upcoming response to execute. However, once the target appeared, there was no uncertainty about the response to select nor about the outcome (reward) associated with it. As a consequence, this paradigm is useful for investigating how the brain processes information provided by the context to prepare potential responses.

Our Morse Code classes include using a practice CD by Chuck Adams, K7QO for home study to learn the Morse Code alphabet. We also use a computer program from G4FON to generate practice CW letter sequences, words, and sentences.


This is a good CD. The songs are awesome, especially "This is a call" and "Big Me". Even so, it still isnt as good as some of their new stuff.

T42 have appeared on CRC once before, the Thanksgiving episode to be precise, but I have to give a shout out to these guys from Texas as they were one of many Dallas/Ft. Worth bands on the rise during my college days. Jay Gillian and Will Loconto were the prime movers of this duo and they released a handful of catchy, electronic jingles that can still motivate dance floors today. The song here, Desire, was produced by Paul Robb from Information Society (view website) and became their biggest hit. I vaguely recall going to a record release party for the song. Seems like they played the track just about every hour or half hour in support and while that would seem like overkill, it's just not a song of which you can tire easily.


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The subjects were lying supine on a bed inside of a magnetically shielded room with their head in the detector helmet. An individually shaped dense foam cushion was placed between the subject's head and the detector helmet to improve comfort and minimize head movements. The visual stimuli and joystick-controlled cursor were presented on a screen ∼60 cm in front of the subject using a LCD video projector (Sony VPL-PX20) located outside of the shielded room. The joystick (model M11C0A9F modified for magnetoencephalography (MEG) compatibility; CH Products) was attached to the bed next to the subject's right hip in a way that the arm rested on the bed and the handle could be manipulated with the hand.

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DVD Cover Searcher 3/5.0/0 was added to DownloadKeeper this week and last updated on 27-Jun-2021. New downloads are added to the member section daily and we now have 506,115 downloads for our members, including: TV, Movies, Software, Games, Music and More.


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These results suggest that the different levels of beta-band power during motor preparation found in this experiment reflect different levels of motor cortical spiking rate, with the caveat that the two parameters are inversely related. This inference is consistent with the finding that neuronal preparatory spiking activity in oculomotor areas (specifically the superior colliculus and the lateral intraparietal sulcus) decreases when the number of potential saccadic targets increases (Basso and Wurtz, 1997; Dorris and Munoz, 1998; Churchland et al, 2008). Even though the skeletomotor and oculomotor systems are widely different, these results suggest that in both cases the degree of uncertainty about the upcoming response modulates in a very similar way the preparatory neuronal activity in the brain structures involved. Finally, the decrease of beta-band power during the response at the same level in all conditions suggests that motor cortical spiking activity was the same at the onset and during the motor response.

The absolute value of Rk was used to preserve the negative sign of ERD. As a consequence, Pi,j,k(%) varied for each subject between near 0% during the center-hold period to near −100% during the execution of the response. To determine the time at which beta-band power started to decrease after cue or target onset, we computed its 90% confidence interval during the 250 ms preceding stimulus onset, and then we selected the first time after stimulus onset at which beta-band power crossed the lower limit of the confidence interval.


This archival recording will surely be of interest for punk collectors and Guns N’ Roses fans, as it features a 17 year-old Duff McKagen playing guitar on seven tracks, all of which he is credited with writing. Now, it is worth noting that the “Here’s ___’s high school punk band” impulse regularly offers results that while of historical interest still fall short of the essential. But this set, if not quite an indispensable acquisition, is better than most, partly because McKagen had prior experience in the Fastbacks and the Vains (he also played in The Fartz and 10 Minute Warning before moving on to GNR), though obviously one guitarist doesn’t make a band. The other members of The Living are vocalist John Conte, bassist Todd Fleischman and drummer Greg Gilmore, who was later part of Mother Love Bone. Another positive factor is a lack of hardcore genericism, though the ragged intensity of the songs reinforces The Living as fitting openers for DOA. If nothing revelatory occurs on 1982, I did listen to six consecutive times without getting fidgety, which is no small achievement.