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FAQs
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How are cracked versions of software created and why are developers not able to prevent it?
Cracked versions of software are created with the use of debuggers. (A debugger is a special type of software that lets programmers deconstruct their software into its constituent parts for the purpose of finding bugs, and thus de-bugging. Additionally debuggers can be used for reverse-engineering, or to see what is inside the software, to learn its logic. The latter method is used mostly by malware researchers to study what malware (or computer viruses) do on-the-inside. But it can be also used by an attacker to "crack" (or bypass) legal software registration, or at times, to alter normal behavior of software, for instance by injecting a malicious code into it.)For the sake of this example, I will assume that the software that is being "cracked" was compiled into a native code, and is not a .NET or a JavaScript based application. (Otherwise it will be somewhat trivial to view its source code.) The compiled native code is a bit more tricky "beast" to study. (Native means that the code executes directly by the CPU, GPU, or other hardware.)So let's assume that the goal of an attacker is to bypass the registration logic in the software so that he or she doesn't have to pay for it. (Later for lolz, he or she may also post such "crack" on some shady online forum or on a torrent site so that others can "use" it too and give him or her their appreciation.)For simplicity let's assume that the original logic that was checking for the software registration was written in C++ and was something similar to the following code snippet:In this code sample "RegistrationName" and "RegistrationCode" are special strings of text that a legitimate software user will receive after paying for the license. (The name is usually that person's actual name or their email address, and the code is some string of unique/special characters that is tied to the name.)In the logic above, the function named "isRegistrationCodeGood()" will check if "RegistrationName" and "RegistrationCode" are accepted using some proprietary method. If they are, it will return true. Otherwise false. That outcode will dictate which branch (or scope) the execution will follow.So the logic above will either show that registration failed and quit:Or, if the registration code and name matched, it will save the registration details in persistent storage (such as the File System or System Registry) using the function named "rememberRegistrationParameters()" and then display the message thanking the user for registering:A "cracker" will obviously want to achieve the second result for any registration code that he or she enters. But they have a problem. They do not have the C++ source code, part of which I showed above. (I hope not!)So the only recourse for an attacker is to disassemble the binary code (that always ships with software in the form of .exe and .dll files on Windows, and mostly as Unix executables inside the .app packages on a Mac.) An attacker will then use a debugger to study the binary code and try to locate the registration logic that I singled out above.Next you can see the flowchart for a snippet of code that I showed in C++, presented via a low-level debugger. Or, as the code will be read in the binary form after compilation:(For readability I added comments on the right with the names of functions and variables. They will not be present in the code that an attacker could see.)(To understand what is shown above an attacker will have to have good knowledge of the Assembly language instructions for the native code.)I also need to point out that having a disassembly snippet like the one above is the final result for an attacker. The main difficulty for him or her is to locate it among millions and millions of other similar lines of code. And that is their main challenge. Not many people can do it and that is why software "cracking" is a special skill.So having found the code snippet above in the software binary file a "cracker" has two choices:1) Modify (or patch) the binary.2) Reverse-engineer the "isRegistrationCodeGood()" function and copy its logic to create what is known as a "KeyGen" or "Key Generator."Let's review both:The first choice is quite straightforward. Since an attacker got this far, he or she knows the Intel x64 Instruction Set quite well. So they simply change the conditional jump from "jnz short loc_7FF645671430" at the address 00007FF645671418 (circled in red in the screenshots) to unconditional jump, or "jmp short loc_7FF645671430". This will effectively remove any failed registration code entries and anything that the user types in will be accepted as a valid registration.Also note that this modification can be achieved by changing just one byte in the binary code from 0x75 to 0xEB:But this approach comes with a "price" of modifying the original binary file. For that an attacker needs to write his own "patcher" (or a small executable that will apply the modification that I described above.) The downside of this approach for an attacker is that patching an original executable file will break its digital signature, which may alert the end-user or the vendor. Additionally the "patcher" executable made by an attacker can be easily flagged and blocked by the end-user's antivirus software, or lead criminal investigators to the identity of the attacker.The second choice is a little bit more tricky. An attacker will have to study "isRegistrationCodeGood()" function and copy it into his own small program that will effectively duplicate the logic implemented in the original software and let him generate the registration code from any name, thus giving any unscrupulous user of that software an ability to register it without making a payment.Vendors of many major software products understand the potential impact of the second method and try to prevent it by requiring what is known as "authentication." This is basically a second step after registration, where the software submits registration name to the company's web server that returns a response back to the software of whether the code was legitimate or not. This is done by Microsoft when you purchase Windows (they call it "Activate Windows") and also by signNow, and many other companies. This second step may be done behind-the-scenes on the background while the software is running, and will usually lead to cancellation of prior registration if it was obtained illegally.So now you know how software is "cracked".Let me answer why it is not possible to prevent it. It all boils down to the fact that any software code needs to be read either by CPU (in case of a binary native code) or by an interpreter or a JIT compiler (in case of JavaScript or .NET code.) This means that if there's a way to read/interpret something, no matter how complex or convoluted it is, an attacker with enough knowledge and persistence will be able to read it as well, and thus break it.There is an argument though that cloud-based software is more secure, which is true, since its (binary) code remains on the server and end-users do not have direct access to it. And even though cloud-based software is definitely the future, it has some major drawbacks that will never allow it to fully replace your conventional software. To name just a few:Not everyone has an internet connection, or is willing to upload their data online. Additionally someone’s internet connection can be very expensive or too slow to make the software run very laggy.Then there’s a question of distributed computing. For instance, Blizzard Entertainment would never make “World of Warcraft” to fully run on their servers due to immense computational resources needed to render every single scene for every player they have. Thus it is in their best interest to let each individual user’s computer to do the rendering instead.As a software developer myself, I obviously don't like when people steal software licenses. But I have to accept it and live with it. The good news is that there are not that many people who are willing to go extra mile and search for a cracked version of software. The main problem for those who do, is that by downloading a patched executable, or an attacker's KeyGen or a Patcher, they are effectively "trusting" him or her not to put anything "nasty" into it that was not "advertised on the package" (stuff like trojans, malware, or keyloggers.) So the question for those people becomes -- is it worth the cost of the software license to potentially infect your system with a nasty virus?On the other side of the equation, some developers react very negatively to any attempts to steal their software licenses. (I was there too.) They try to implement all kinds of countermeasures -- anything from tricking reverse-engineers, to adding booby traps in the code that may do something nasty if the code detects that it is being debugged, to obfuscating or scrambling the code, to enforcing all kinds of convoluted DRM schemes, to blocking users from certain countries. I personally try to stay away from all of those measures. And here's why:A) Any kind of anti-reverse-engineering tactics could be bypassed by an attacker with enough persistence. So why bother and waste my time when I can invest that time into adding something useful to my software that will make it more productive for legitimate users?B) Some code packers could create false positives with antivirus software, which is obviously not good for marketing of that software. It also creates unnecessary complexity for the developer to debug the software.C) Adding booby traps in the code can also “misfire” on your legitimate users, which will really infuriate them and can even lead to lawsuits.D) Any DRM scheme will probably catch some 100 illegal users and greatly inconvenience 10,000 legitimate ones. So why do it to your good customers?E) Our statistics show that about 75% of all illegal licenses come from China, Russia, Brazil, to name the worst offenders. (I also understand that the reason may be much lower incomes that people have in those countries.) The main issue for us though was the fact that if we enforce our DRM or add some strong registration authentication, many people that wanted to bypass our registration would simply use a stolen credit card number. And we had no control over it. Our system will use it to send them a legitimate license only to have the payment bounce in weeks time. As a result we would lose the money that were paid for the license, plus the credit card company will impose an additional chargeback fee to our account, which may range from $0.25 to $20 per bad purchase on top of the license cost.F) As was pointed out in the comments, some companies may actually benefit from allowing pirated copies of their software. Microsoft for instance gets a lot of free publicity from people using their Windows OS, the same goes for signNow with their Photoshop. That is a good point that I agree with.So my philosophy is now this -- if someone wants to go extra mile and steal our software, go for it! They went this far to do it anyway, so they probably have a good reason. On the positive side there are so many other customers that appreciate the work that goes into creating software that greatly outnumber those that don’t.PS. Thank you for all your feedback! It makes me feel good that the knowledge I shared is useful to others.
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What do pro-choicers think of third-trimester abortions?
First, the child has a “head and limbs and everything” much, much earlier than the third trimester.So if the criteria is that a fetus with “a head and limbs and everything” should not be aborted, the period of time when abortion is okay would have to be before 8 or 9 weeks or even earlier, depending on your perception of what constitutes a “head and limbs”. The little buds and the little webbed looking hands are seen by 8 weeks, along with the large (seemingly) misshapen head that will envelope the amazing human brain.I personally believe that the fetus is not conscious until around the 24th week of pregnancy. (I came up with this general time frame from reading about neurology, consciousness, and fetal development; a complex topic that I won’t detail here.) I don’t believe the fetus feels pain when aborted before about the 22nd week. Although it is heart-wrenching to watch images of the fetus (reflexively) attempting to escape abortionist tools. They jerk and pull away, as all living things seek to preserve their lives.However, as I said elsewhere, that to me being unconscious does not mean a living being does not have rights. I recently had surgery and was unconscious for the procedure. I could have been terminated and not felt it or known about it, but that wouldn’t have made it morally right.Very few abortions are done in the third trimester. Few doctors will do them. When they do occur it is often because the fetus is so seriously deformed and would not survive the birth process anyway. (But since your question is about having a head and limbs, we needn’t stick to the last trimester in our discussion.)Abortion is not legal throughout all three trimesters in most states. Many states have limits of between 20 to 24 weeks, some even earlier. But even at 12 weeks, yes, there is a very human-looking being with a little head, arms and legs and visible, although still ambiguous, genitals.I don’t know what “pro-choice” people think about very late abortions. Some may have an arbitrary timeline in their own mind as towhen the baby is too human to deprive of its life, and others follow the “gospel of choice”. The gospel of choice is that any and all rights an unborn person has are null and void because the rights of the mother trump them. Once the infant is born and takes a breath, then and only then can humanity be ascribed to them. Here is an interesting video in which a (former) fetus speaks of surviving an abortion attempt:I must say, I am suspicious of your claim to be pro-choice. Forgive me if I am incorrect in my suspicions. Frequently, posters on this forum will pose as pro-choice and ask innocent questions meant to provoke the discussion on Quora. It is futile to try to dissuade most pro-choicers with these ethics questions.Of interest, there are many former pro-choice warriors who have struggled with the issue and have jumped the fence. Notable is Dr. Bernard Nathanson, the abortionist who may have done more than anyone else to make abortion legal as one of the key figures in the work of the National Association for the Repeal of Abortion Laws. (NARAL) . His turnaround was so radical that he went from an atheist to a Catholic and spent his remaining years fighting abortion. I have not been able to find online recently his breathless deathbed plea for unborn life, but this obituary provides his perspective. B. N. Nathanson, 84, Dies; Changed Sides on AbortionOther well-known figures include the “Roe” of “Roe versus Wade”’ Norma McCorvey, who changed her mind and spent decades as a prolife activist Norma McCorvey on becoming pro-life (1998) - CNN Videoand Abby Johnson, the former director of a Planned Parenthood. AbortionWorkerOf course, these mind-changes have no effect on discussion with true-believing pro-choice people; such people are seen only as turncoats. If the “gospel of choice” community responds at all, it is usually in the form of attack or attempts to discredit those who have jumped the fence. For those who have a grain of doubt in their position, who are troubled by the fetal attempt to squirm away from a sharp tool, then perhaps the reasons these pro-choice icons became turncoats may be interesting. But they will not interest those who have no doubts.I will provide here links to two videos showing fetal life. One is a miscarriage, and the other is labelled as an abortion. I don’t believe the moving fetus is an abortion, despite the claims of the person who posted it. The medical personnel are speaking a language I don’t understand, but you can hear tones of sadness as they discuss the little fetus, and further the fetus is not damaged in anyway, so likely this is footage of a natural miscarriage. This is graphic, but not gory, it is merely a fetus moving a little bit as it dies because it cannot live outside the womb. This fetus is too young to try to breathe or have any pain or consciousness. I am estimating that it was born early in the second trimester. If you are sensitive, it may be too alarming to watch. I am sorry about the banner “Abortion is Murder” and so on. but this is the only video that shows the miscarriage of a fetus of this age that I can find. I don’t think all the “murder” talk and the accusations help the discussion. Anyway, this is not a third trimester baby by any stretch of the imagination. It is likely 14 to 16 weeks and yes, there is a head and legs.I want to also add that I don’t think that reversing the Supreme Court decision regarding the right of women to terminate their pregnancies will help anything at this point.I am more interested in being free to talk about human life with those who have doubts and to explore addressing the cultural effects of the legalization of abortion. For instance, there are movements such as Feminists for Life and other secular prolife movements who offer a different perspective from the religious dissenters and the “gospel of choice” movement. secularprolifeYes, the Supreme Court has spoken. But no law has been enacted that prevents thoughtful people from re-examining and conversing about the disquieting questions that the theme of abortion gives rise to.
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How does understanding the elements of music impact the analysis of a narrative poem?
Scaringly difficult subject to write about, and surely, just as ambivalent. I possess no expertise on poetry nor on music, only what a curious & interested mind gathers over these past few years. Hastily point out mistakes or any others short-comings & fallacies.I will be quick to mention Milton, perhaps a little of Eliot, and lastly, Ezra Pound. The effect & connection between music and poetry has definitively varied throughout history. Sung epos & folklore songs, Provençal & Troubadour poetry,... roughly speaking, and this is my observation, the first wedge between the two has been made when poetry became much more erudite, soaked in words-meaning, and forgot the musical rhythms little behind, not that I value one over another.-- Anyway, 19. & 20. century welcomed the revival of the two, and again established connections. French symbolism, Modernism & new musical techniques ( revolution of style both in literature & music, the avant-garde was united across all fields ). Of course, one of the issues is how much of modern poetry can be marked as "narrative" in the obvious sense. The elements of music is such a vague term indeed…To start off with a quotation from Poe`s The Poetic Principle:Contenting myself with the certainty that Music, in its various modes of metre, rhythm and rhyme, is of so vast a moment in Poetry as never to be wisely rejected - is so vitally important an adjunct, that he is simply silly who declines its assistance, I will not now pause to maintain its absolute essentiality. It is in Music perhaps that the soul most nearly attains the great end for which, when inspired by the Poetic Sentiment, it struggles - the creation of supernal Beauty. It may be, indeed, that here this sublime end is, now and then, attained in fact. We are often made to feel, with a shivering delight, that from an earthly harp are stricken notes which cannot have been unfamiliar to the angels. And thus there can be little doubt that in the union of Poetry with Music in its popular sense, we shall find the widest field for the Poetic development. The old Bards and Minnesingers had advantages which we do not possess - and Thomas Moore, singing his own songs, was, in the most legitimate manner, perfecting them as poems.&A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having, for its object, an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with definite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness.And to finish, a section from a letter to James R. Lowell:I am profoundly excited by music and by some poems - those of Tennyson especially - whom with Keats, Shelley, Coleridge (occasionally) and a few others of like thought and expression, I regard as the sole poets. Music is the perfection of the soul or idea of Poetry. The vagueness of exultation aroused by a sweet air which should be strictly indefinite and never too strongly suggestive is precisely what we should aim at in poetry. Affectation which is thus no blemishMustek and Poetry have ever been acknowledg'd Sisters. As Poetry is the harmony of Words, so Mustek is that of Notes... Sure they are most excellent when they are join 'd. Blest pair of Sirens, pledges of Heav'ns joy, Sphere-born harmonious Sisters, Voice, and Vers, Wed your divine sounds, and mixt power employ Dead things with inbreath'd sense able to pierceMilton could have very well be a musician, -his father was-, and his music appeared in print from time to time, one notable contribution was Fair Orian in collection of madrigals in Honour of queen Elizabeth, The Triumphs of Oriana.He was a close friend with a composer Henry Lawes, and the two collaborated on The Masque of Comus, 1634.There is also a distinction to be made between Greek & Roman musica practica, which was performed & sung, and the Pythagorean musica speculativa, theoretical & mathematical understanding, — changed to Christianised harmonia mundi during the Renaissance revival ). Harmonica mundi can definitely be encountered in Milton`s early poetry, At solemn music, Ad Patrem, & passages from 'Arcades', Comus, and 'On the Morning of Christ's Nativity'.From At solemn music:“ … disproportioned sinJarred against nature's chime, and with harsh dinBroke the fair music that all creatures madeTo their great Lord.”See how disproportioned resonates with Pythagorean proportions, and it became disproportioned with the Original Sin and the fall from Eden. The reconciliation between the Classical/Pagan & Christian aesthetics and tradition was one of the foremost issues of early Milton. A passage from On the Morning of Christ's Nativity';The lonely mountains o’er, And the resounding shore, A voice of weeping heard and loud lament; Edgèd with poplar pale, From haunted spring, and dale The parting Genius is with sighing sent; With flower-inwoven tresses torn The Nymphs in twilight shade of tangled thickets mourn.From Paradise Lost:Celestial voices to the midnight air [...]With heavenly touch of instrumental soundsIn full harmonic number joined, their songsDivide the night, and lift our thoughts to heaven.& in Hell:Their song was partial, but the harmony(What could it less when spirits immortal sing?)Suspended hell, and took with ravishment The thronging audience.Partial music of fallen Angels & Broken music of man. And Book V:Mystical dance, which yonder starry sphereOf planets and of fixed in all her wheelsResembles nearest, mazes intricate,Eccentric, intervolved, yet regularThen most, when most irregular they seem;And in their motions harmony divineSo smooths her charming tones, that God's own earListens delighted.A quick stop with T.S. Eliot and modernism before Pound.Modernism was a turbulent period, literature was chasing music, music was chasing language, and both were born out of impulse to restore expressivity & eloquence that the formality has lost. An important shift has happened, there is no absolute, right or left, right is not the opposite of left, ocean does not kill the fire.Poe & French symbolism played a pivotal role, and I am not confident nor do I know enough to speak about French climate and the effects of Poe in the second half of the 19. century here.Just as literature changed, so did music. Even the so called more traditional composers, like Ravel, are less formulaic and more abrupt, not to mention the likes of Stravinsky. What is very intriguing to me is how well does modern art produce tensions despite the loss of totality & coherence, and how idiosyncratic arbitration took over without losing the profound and human effect of tensity. In this sense, music was not longer a music in musical forms, but rather that of consciousness and its fragmentation.The seeming homelessness of arts in the period is a precondition of the changes that occurred, and this is what T. Hardy called the ache of modernism. There are no happy ends, formulaic tragedies ethically victorious, nor obvious redemption ( debatable, Last part of The Waste Land is an example ). The widening canyon of separation & inability of pristine connectivity is a precondition of the age, and in itself, its product - Postmodernism, a headless human still digging in a graveyard of modernity, seeking hopelessly for a regenerative bone & praying not to find it - he would have to leave. This is why modernism has no green heritage, only skeletons. In Joyce`s terms, Scrupulous meanness. Even the Hegelian aesthetics “in the suspension of equilibrium lies the tendency to return to a condition of equilibrium”, even musical form through dissonance to consonance, is depleted. If one here remembers the quotes from Poe and his posture of indefinitiveness, how it went from his to symbolism and from there to modernism, acclaiming the suggestive aspect.One of the drives of modernism was to thrust poetry back from the street, or jungle, to the sublime, the rightful place, to perform the duties it deserves. The restoration called for a path through prickly subjects, even ironic and laughable, like Prufrock`s underwhelming question, but it manages to pass exactly due to that vagueness, and we sense it as our own.Perhaps all this has been rather imprecise, let me speak about Eliot.So, while poetry attempts to convey something beyond what can be conveyed in prose rhythms, it remains, all the same, one person talking to another; and this is just as true if you sing it, for singing is another way of talking. The immediacy of poetry to conversation is not a matter on which we can lay down exact laws. Every revolution in poetry is apt to be, and sometimes to announce itself to be a return to common speech.... The music of poetry, then, must be a music latent in the common speech of its time.The Use of Poetry and The Use of Criticism: “Poetry begins, I dare say, with a savage beating a drum in a jungle, and it retains that essential of percussion and rhythm” - like music.Fairly, music of poetry may differ from music of music, an awkward saying that while musical elements are important for analysis, but the musical elements in poetry categorically & theoretically & applicably differ from those that we apply to music per se.'From Poe to Valery´, essay:Poetry, of different kinds, may be said to range from that in which the attention of the reader is directed primarily to the sound, to that in which it is directed primarily to the sense. With the former kind, the sense may be apprehended almost unconsciously; with the latter kind - at these two extremes - it is the sound, of the operation of which upon us we are unconscious. But, with either type, sound and sense must cooperate; in even the most purely incantatory poem, the dictionary meaning of the words cannot be disregarded with impunity.Precisely, from The music of Poetry;[m]y purpose here is to insist that a 'musical poem' is a poem which has a musical pattern of sound and a musical pattern of the secondary meanings of the words that compose it, and that these two patterns are indissoluble and one.Simply a level beside the denotation of words. In`The Music of Poetry´ another inspect of this climate is presented:The music of a word is, so to speak, at a point of intersection: it arises from its relation first to the words immediately preceding and following it, and indefinitely to the rest of its context; and from another relation, that of its immediate meaning in that context to all the other meanings which it has had in other contexts, to its greater or less wealth of association.Which can be directly linked to his writings On Dante:In English poetry words have a kind of opacity which is part of their beauty. I do not mean that the beauty of English poetry is what is called mere 'verbal beauty'. It is rather that words have associations, and the groups of words in association have associations, which is a kind of local self-consciousness, because they are the growth of a particular civilization.As many words, music ferries such a rich history of meanings, definitions, and relations that is difficult to analyse the impact. Music in one of the Archetypes, and they are hard to contain. Music is a structure separate of understanding, insofar as it escapes the restraints of conventional meanings. The Music of Poetry is, if one takes a leap of imagination, an objective correlative, if I dare expand the term. If I use a line from D. Davie; "It is language which happens through the speaker and not the speaker who expresses himself through language.”-— Can this also be said about music, when it comes to early Eliot?In an 'Aspects of Rhythm and Rhyme in Eliot's Early Poems', J. Chalker, in sum, `The Use “the steadiness and predictability of musical rhythm” is to produce psychological reassurance in the midst of emotional disturbance.´—Such irony, after reading Prufrock, if I thinks solemnly of rhythm, I would say it conveys anything but the reassurance and predictability, yes, the irony that is serves as a distraction from emotional disturbances, and in this fact lays reassurance.Quite enough of Eliot…Ezra Pound!''The idea that music and poetry can be separated,'' he wrote, ''is an idea current in ages of degradation and decadence when both arts are in the hands of lazy imbeciles.''Opera Le Testament De Villon:He started at least two unfinished operas, Cavalcanti and COLLIS O HELICONII.( Two short recordings of the latter can be found here )Rhythm & Music, “the hardest quality of a man's style to counterfeit”.In his three essays about Music in Transatlantic Review, he strongly focuses & advocates time and time-intervals, arguing:“A sound of any pitch, or any combination of such sounds, may be followed by a sound, or any combination of sounds, providing the time interval between them is properly gauged; and this is true for any series of sounds, chords, or arpeggios”Emphasization of space and rhythm was, by space - `space in between concise images - in juxtaposition´ - one of prime concerns of Imagisme. Reader`s interaction is needed to form a connection between them. ( A short answer about In A Station of the Metro ) Another short poem, Alba:As cool as the pale wet leaves of lily-of-the-valleyShe lay beside me in the dawn.Pound˙s poetry, rhythm & music was always more about reaction than explanation, which, I think, anyone who has read him can agree, and that might very well be the only thing on which we can agree. Therefore Poetry & Music are two in one to achieving this reaction.I will briefly present his own attempt to compose a work based on his own poem, Sestina Altaforte (1909 )Loquitur: En Bertrans de Born.Dante Alighieri put this man in hell for that he was a stirrer-up of strife.Eccovi!Judge ye!Have I dug him up again?The scene in at his castle, Altaforte. "Papiols" is his jongleur."The Leopard," the device of Richard (Cúur de Lion).IDamn it all! all this our South stinks peace.You whoreson dog, Papiols, come! Let's to music!I have no life save when the swords clash.But ah! when I see the standards gold, vair, purple, opposingAnd the broad fields beneath them turn crimson,Then howl I my heart nigh mad with rejoicing.IIIn hot summer have I great rejoicingWhen the tempests kill the earth's foul peace,And the lightnings from black heav'n flash crimson,And the fierce thunders roar me their musicAnd the winds shriek through the clouds mad, opposing,And through all the riven skies God's swords clash.IIIHell grant soon we hear again the swords clash!And the shrill neighs of destriers in battle rejoicing,Spiked breast to spiked breast opposing!Better one hour's stour than a year's peaceWith fat boards, bawds, wine and frail music!Bah! there's no wine like the blood's crimson!IVAnd I love to see the sun rise blood-crimson.And I watch his spears through the dark clashAnd it fills all my heart with rejoicingAnd pries wide my mouth with fast musicWhen I see him so scorn and defy peace,His lone might 'gainst all darkness opposing.VThe man who fears war and squats opposingMy words for stour, hath no blood of crimsonBut is fit only to rot in womanish peaceFar from where worth's won and the swords clashFor the death of such sluts I go rejoicing;Yea, I fill all the air with my music.VIPapiols, Papiols, to the music!There's no sound like to swords swords opposing,No cry like the battle's rejoicingWhen our elbows and swords drip the crimsonAnd our charges 'gainst "The Leopard's" rush clash.May God damn for ever all who cry "Peace!"VIIAnd let the music of the swords make them crimson!Hell grant soon we hear again the swords clash!Hell blot black for always the thought "Peace!"As a remainder, poem’s speaker is the Gascon nobleman and war-loving troubadour Bertran de Born, who lived in the second half of the twelfth century. There is no way Pound would have wrote the poem in 1914, even 1913, with its pro-war orientation, but in the end, it is a traditional subject of epic.If one isolates the ending words of each stanza:peace – music – clash – opposing – crimson – rejoicing [Stanza I]rejoicing – peace – crimson – music – opposing – clash [Stanza II]clash – rejoicing – opposing – peace – music – crimson [Stanza III]crimson – clash – rejoicing – music – peace – opposing [Stanza IV]opposing – crimson – peace – clash – rejoicing – music [Stanza V]music – opposing – rejoicing – crimson – clash – Peace [Stanza VI]crimson – clash – Peace [Envoi]Not to get into a detailed analysis of this one poem and its technical mastery of Anglo-Saxon metre & alliteration, more famous in his translation The Seafarer.“The phrases are short (two to six small, quick bars), often similar but generally asymmetric, and impetuous with anapest driven leaps, creating an almost flickering quality. The sestina form, however, is used for purely structural function. There is no attempt at word painting or at a sonic/cognitive equivalent. The music matches the original poem, one note or chord per syllable, through the third line of the second sestet. From this point musical irregularities gradually encroach upon the monosyllabic relationship with the text. His formal method was to assign one or two extremely brief music segments (each segment consisting of a different chord, or two or three chords with or without a unison note) as a “sonic signifier” to identify each line of Altaforte’s six end words. When the end word appeared in its new position in the following sestet its sonic signifier would appear as a recognizable determinant. . . .“Remembering category #4 concerning “Criticism via music” in Pound’s essay “Date Line,” we can reflect upon the interpretive insights given us when Pound interrelates music and verse.2 As can be seen above, the temptation to read “Damn it all!” as a colloquial emphatic anapest is dissuaded by Pound’s more pungent cretic ( – ˘– ), giving equal emphasis to “Damn-all.” At the end of the line a spondee (two quarter notes) gives accentuation to “stinks peace,” correcting a tendency to slight “stinks” as a moderately unstressed syllable if giving “South stinks peace” the quite natural reading of a cretic. Similarly, in line six of the same stanza, “heart nigh mad” might be rendered a cretic, yet Pound’s musical setting as three stressed syllables heightens the emotional pitch of the poem by raising the tension on “nigh.” . . .“Under the influence of Antheil’s constantly changing time signatures and note durations[applied to the opera Le Testament] the solo violin sestina utilizes a constant shifting of the number of microbeats per bar from 1/4 to 21/32, with a frequency of triple and quintuple meters presaging the metric simplification of his music over the next two years. Yet Pound’s notation is not secure enough to avoid frequent miscalculations of the note lengths versus the time signatures.“A chordal piece with almost no single notes, frequently using triple- and quadruple-stops with one to three open strings, it repeatedly necessitates the use of “broken chords” or arpeggiation. The result is often a scratchy, disjointed, leaping quality as the player prepares the fingers to approach each new multiple stop. Yet the “breaking” of the chord also favors a clarification of the harmony by lessening the biting dissonance to produce a more consonant sound, often focusing on open fifths or, in arpeggiation, the sweetened effect of an incomplete major seventh chord. Although aesthetically clarified by a few interpretive markings (bowings, accents, staccati, glissandi, sordino, string specification), technically the piece is filled with impracticalities: jagged, wide leaps; constant multiple stops; and some extremely difficult quadruple- stops, which at best render the work barely playable, if not unplayable. (These challenging famous last words often eventually offer an extremely good performance!)” . . . ( Sestina Altaforte” Ezra Pound sets his poem to music )Aforementioned unfinished COLLIS O HELICONII;HYMN TO APHRODITEAphrodite subtle of soul and deathless, Daughter of God, weaver of wiles, I pray thee Neither with care, dread Mistress, nor with anguish Slay thou my spirit. But in pity hasten, come now if ever! From afar, of old, when my voice implored thee, Thou hast deigned to listen leaving the golden House of thy father With thy chariot yoked, and with doves that drew thee Fair and fleet around the dark earth from heaven, Dipping vibrant wings down the azure distance Through the mid ether: Very swift they came; and thou gracious Vision Leaned with face that smiled in immortal beauty, Leaned to me and asked, “What misfortune threatened?” Why I had called thee? “What my frenzied heart craved in utter yearning, Whom its wild desire would persuade to passion? What disdainful charms madly worshipped, slight thee? Who wrongs thee, Sappho? “She that fain would fly, she shall quickly follow She that now rejects, yet with gifts shall woo thee, She that heeds thee not, soon shall love to madness, Love thee, the loth one.”( John Myers O’Hara translation 1910, which Pound recommended )Scenario/librettoPound described his third opera as half-finished (GK 368). A libretto, two arias, and three instrumental works are the sum of materials we have to inform the staging of the opera Collis O Heliconii. Pound’s libretto refers only to the Catullus poem (see my comments and transcription of Pound’s libretto, COLLIS xvi–xix; 102–111). The joining of the opera’s central aria in Latin—Catullus’ carmen 61—and a secondary aria in Greek—Sappho’s “Poikilothron”—continued the pairing of languages heard in the second opera Cavalcanti (Italian and Provençal). The composer’s principal motivation for relating the Latin and Greek poems in an opera was to anchor modern English lyrics in the Greek rhythms while demonstrating how a grasp of Latin will refine a poet’s style.The four key actions of Sappho’s Poem 1 are Sappho’s invocation to the goddess Aphrodite; the goddess’s descent from heaven; Aphrodite’s direct address to Sappho regarding her dominance over human will; and Sappho’s invitation to Aphrodite to take action side by side to reverse an unrequited love.The relationship of the Sappho invocation to the Catullan poem, which is widely accepted as an epithalamium, is not an obvious one. But even if we overlook recent scholarship that depicts carmen 61 as a lampoon of an epithalamium, we can find structural resemblances between the two poems. Sappho’s poem provides an authorial match to Catullus’ carmen 61: each poet inserts her- or himself into the poem; each writes in a way that distances the poet as author from the passions written about; and each poem includes a theme of same-sex preference. It was Henry Wharton who first introduced the English reader to Sappho’s love for a female and possibly Theodor Bergk who earlier had done the same for the German reader (Williamson 51–52).2For contrast and drama in his opera, Pound would develop the literary relationship between Sappho and Catullus. He had named them in his 1929 essay “How to Read” as among the essential canon of authors "who actually invented something" (LE 27). In 1934, Pound praised Catullus for his treatment of sapphics: “. . . the only man who has ever mastered the lady’s metre” (ABCR 47). He published the essay “Date Line” the same year, claiming that the musical setting of a poet’s words was a fourth form of criticism (LE 74). Had Pound’s attempts at setting the two poets’ words to music led him to these declarations?Pound’s preference was for us to hear the two poets’ words in the original language, their rhythms and styles brought directly to our ear through the music—the successful formula he had used to dramatize the Cavalcanti–Sordello literary relationship in his second opera. Pound’s pairing of Sappho’s 1 with Catullus 61 removes Sappho from the sphere of influence of Ovid, where most readers became acquainted with her through reading the Heroides. The opera was to place her Latin legacy clearly on the side of Catullus. For more on this, see COLLIS, chapter V, “Sappho.”SapphicsEzra Pound's holograph score of his setting of Sappho Poem 1 from his 3rd opera,Collis O Heliconii.Shown: Introduction to End of Stanza 1 with sapphic stanza and transcription of Pound's lyrics added in red.Beinecke Rare Book and Manuscript Library (YCAL 53, Box 46/1015)Reprinted by permission, Second Evening Art. All rights reserved.Pound’s musical events in the Poikilothron convey a feeling for the meter through quantity and syllabic durations. Only the first stanza (see music score above) corresponds wholly to the sapphic stanza as defined by the Alexandrian grammarian Hephaestion (2nd century A.D.). Here is the sapphic meter as it has come down to us from Hephaestion’s manual of Greek meters, the Enchiridion:– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘˘ – –[The x represents an “anceps” in which the syllable can be short or long.]O’Hara, too, conformed only his first stanza to the Hephaestion sapphic. He maintained the feeling of sapphics through quantity (eleven syllables in the first three lines, five in the fourth), through a liberal use of the choriambic foot – ˘˘ – (though not always in the Hephaestion choriambic position), and through sounds in English that evoke the Greek sounds. Pound follows suit in the music (see the entry on Stanza 4 below).Musical InfluencesWhen Pound approached the setting of a Greek poem accompanied by lyre, he did not attempt to imitate ancient Greek music. Though he had acquired vol. 1 of the Lavignac Encyclopedia of Music which features Maurice Emmanuel’s entry on Greek music, he relied on this text more for its relevance to poetic meter than for compositional ideas.He lent Mary Barnard his own volume, recommending it as the preferred source for understanding how to write sapphics in American English using Emmanuel’s system of musical forms and strategies (Barnard, 56, 58).For his melodies, Pound looked beyond Greece, east to Indonesia. Pound turned his attention to the Javanese scale as had Claude Debussy, but distanced himself from the composer, lamenting that Debussy had turned to composing ‘mush.’3 Debussy had been influenced by performances of the Javanese gamelan at the Paris Exposition of 1889. Access to information about and recordings of world music were random and haphazard, the nascent field of ethnomusicology being represented by only a few key individuals until well into the 1950s.The specific source for Pound’s approach to the Sappho aria, however, is traceable to the Austrian Erich von Hornbostel, one of the earliest musicologists to make field recordings of the music of Indonesia. Hornbostel reported his findings in “Phonographierte Melodien aus Madagaskar und Indonesien” in 1909. Pound most probably learned of him from his friend, the American concert pianist Katherine Heyman, who mentioned Hornbostel in her 1921 bookThe Relation of Ultramodern to Archaic Music (58).4 On July 7, 1924, Pound programmed an arrangement of a Hornbostel Javanese transcription for solo violin, played by Olga Rudge in Paris.5Pound’s Musical Strategy: Modality and TonalityTo the ear accustomed to a diatonic scale, the intervals of Pound’s unusual scale join with the rhythms “to cut a shape in time” (Barnard, 55). Pound’s single accidental of C# in his scale for the Poikilothron aria resembles the transcriptions of Sumatran music compiled by von Hornbostel at the turn of the century.Pound employs six tones —A, C#, D, E, F, (G)—and avoids B altogether. The use of five tones only in stanzas one through four creates a sense of modal music, i.e., a type of scale that is sui generis, where each tone has equal weight, rather than tonal, which is a hierarchical system of music with a central pitch to which the other pitches relate. In modal music the notes do not function as harmony. Only in the fifth stanza does Pound introduce the G to create the sense of a musical key with the stable relationships of the fourth between D and G, and the already present fifth between D and A. The six-tone scale, with certain features acting like a diatonic scale which has seven tones, implies the key of D minor. B is simply avoided and the C# serves as a raised “seventh” step which wants to resolve to D.When the tritone sounds between G and C#, the composer moves from modal to tonal music. In Stanza six, he resumes modality.The contours of Pound’s melodies arise from the qualities of spoken word in the poem—supplication, solicitation, question, demand, and judgment—, the intervallic movement expanding and subsiding with the emotion. The composer brings forward the contours of Sappho’s words through timbre, dissonance, tritone, and accent. Guided by the belief that he can recover the form apart from the formulaic metrics passed down by tradition, he does not attempt to recover ancient Greek melody, but presents new composition as his fifth form of criticism (LE 74–75).Stanza 4: Inner form in Sappho’s Poikilothron:In stanza four, Sappho’s rhetorical devices lead to a highly structured colloquy between the poetess and goddess, even as the language remains colloquial. The composer strives to make this duality salient—structural formality/linguistic familiarity—not only to transmit Sappho to a modern audience but to promote his own interest in Sappho as a mortal poet conversant with the gods.At stanza four we find rhyming patterns in the syllables: otti deute / kotti deute. Here, Pound foregrounds Sappho’s word play by striking the repeating hard surfaces of her Greek consonants—t, d, p, k—against his neo-Sumatran scale, the strangeness of the scale serving to inflect each sound. Sappho’s voice rings out, resonant and striking in her Poundian afterlife, with none of the Ovidian invention and melodrama qualifying her poetic achievement.Stanza 4, lines 3–4, bars 45–49“You asked, what pray tell have I suffered and why pray tell do I call?”Following three breathy vowels on the same pitch, “e-re ot-”, the consonant load of the syllables, “ti”–“dau”–“te”–“pe”–“pon”–“tha,” meets each of the descending pitches with percussive impact. The final syllable pepontha (“have I suffered”) hits the bottom of the singer’s tessitura on A,an octave and a minor sixth below “e-re ot-.” The word kotti (“and what”) rebounds one octave higher on the A, then C# and A again,before a second leap downward to the low A. There follows a third and lesser rebound and descent. The word melodykalemmi (“do I call”), broken by a sixteenth rest, gives the illusion that all is settling down. Pound delivers the last syllable “-mi” on the less-than-resolute e to end the stanza (supported by an A in the violin).Stanza 5: the tritone in Pound’s aria Poikilothron:The Music Column of Make It New 2.1 discussed Pound’s use of the interval of the tritone to insert a critical marker indicating genius within the music. In the Sappho aria, we might expect that when Sappho refers to herself in the poem’s fifth stanza (“kotti moi”), Pound will employ the tritone, and he does not disappoint. He makes the tonality of the tritone salient by preceding it with modality in the preceding four stanzas and in the subsequent sixth stanza.What Pound said:“The more Greek a man knows the better his English cadence is likely to be, and the greater richness, variety, height, precision, colour of his criteria; the greater the variety of his ideas and memories of what verbal melody can be and should be; and the finer his perception of all verbal sounds whatsoever.”(Ezra Pound. “Dust upon Hellas.” Time and Tide XV.45 [November 10, 1934]: 1429–1430).“Greek seems to me a storehouse of wonderful rhythms, possibly impracticable rhythms. If you don’t read it and if you can’t read Latin translations from it, it can’t be helped. Most English translations are hopeless. The best are in prose.”(Ezra Pound. Letter to Iris Barry. July 1916. L 87).( SAPPHO IN POUND’S THIRD OPERA, COLLIS O HELICONII )I would still say that Pound`s musical interest & experimentation ( Classical Greek and Latin, 11th- and 12th-century troubadours like Arnaut Daniel and Gaucelm Faidi, French trouvères like Guillaume le Vinier, and their 14th- and 15th-century heirs like Dante, Cavalcanti and Villon ) were an extended branch, or outgrowth, of his colossal studies in versification. The sound, not semantics!Arthur Daniel, if Pound were asked to give a name of his idea forerunner of whom he said: “when the Provençal [language] was growing weary, and it was to be seen if it could last, and [he] tried to make almost a new language, or at least to enlarge the Langue d’Oc, and make new things possible” —Make it new! The famous motto.OBLIGATORY listening, a different reading of Sestina Altaforte. If you do not hear the music, Sir, God help thee…So, how does understanding of music impact poetry? — Some say intrinsic, and some have not given it a thought or two. Same goes with criticism & analysis.
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What song reminds you of New York?
The city that's called The Big Apple the world has inspired some of the most memorable music ever written and recorded. From Frank Sinatra’s “New York, New York” to Jay-Z's “Empire State of Mind,” songs about New York City span genres and generations.So whether you’re a tourist visiting Manhattan for the first time, a native feeling homesick, or a New Yorker on your way to work, here’s a Top 10 playlist, in no particular order, with some established crowd-pleasers and some other lesser-known songs that are sure to please. “Start spreading the news...”01. "New York, New York" by Frank SinatraWhile this song is often credited to ’Ol Blue Eyes, it was originally written for and performed by Liza Minnelli in Martin Scorsese’s 1977 film "New York, New York."Sinatra recorded it two years later, but since then his rendition has become the unofficial anthem of New York City. The upbeat orchestration and nostalgic lyrics (“I want to be a part of it...”) make it a must sing-a-long song for New Yorkers and visitors alike.02. "Empire State of Mind" by Jay-Z Featuring Alicia KeysRecorded in 2009, Jay-Z’s huge single quickly became a favorite of New Yorkers, hip-hop lovers or not. The only problem with the track was the level of inundation at NY sports stadiums, radio stations, and any public event expressing NYC pride, which left even some Jay-Z fans tired of his hit.Still, with Alicia Keys’ awe-inspiring chorus, the track’s excellent production, and Jay-Z's aptitude for rhyming about his hometown, there are few better ways to get bar patrons celebrating their city than playing this song loudly. You can tell by his attitude, Jay-Z is most definitely from New York.03. "Talkin’ New York" by Bob DylanOn the second track off his 1962 debut self-titled album, Bob Dylan quite literally talks about “New York town” and plays the harmonica and guitar in a classic folk progression. He sings about coming to New York, the cold winters, coffeehouses in Greenwich Village, and how one man told him he sounded “like a hillbilly.”Dylan also talks about the downside of NYC living, similar to his “Hard Times in New York Town,” in which he comments about urban poverty, social isolation, and the difficulty of moving from the country to the city.04. "53rd and 3rd" by The RamonesWhile Joey Ramone Place is at the corner of the Bowery and East Second Street outside the old address of CBGB, the corner of 53rd Street and Third Avenue is forever immortalized on The Ramones self-titled first album.The lyrics by bassist Dee Dee Ramone allude to a spot in Manhattan known for male prostitution in the 1970s. Today the corner is cleaned up, but the bare bones punk of “53rd and 3rd” continues to recall a grittier aesthetic in NYC history.05. "Spanish Harlem" by Ben E. KingThis song was covered by Aretha Franklin and the Mamas and the Papas, but the 1961 original sung by Ben E. King (formerly of The Drifters) remains the most memorable version, a result of King’s resonant vocals and the catchy orchestration, including Spanish guitar and marimba.The red rose growing in Spanish Harlem refers to a woman who only comes out at night, mysterious, “but soft and sweet and dreaming,” the city personified. The song is a mix of musical styles, a melting pot tune that topped the charts when Franklin re-recorded it in 1971.06. "New York City Cops" by The StrokesAccording to Strokes' frontman Julian Casablancas, a girl named Nina couldn’t stop saying, “New York City cops, they ain’t too smart.” But the NYC-based band’s debut album was released soon after 9/11, and The Strokes decided to remove the track from the U.S. version, replacing it with “When It Started.”While some fans claimed self-censorship, The Strokes are known to perform the song live (including in NYC), despite the refrain’s taunt at the NYPD. The riff is too good to stop playing the song over some socially sensitive lyrics.07. "Chelsea Hotel No. 2" by Leonard Cohen“I remember you well in the Chelsea Hotel,” Leonard Cohen croons over his guitar, lamenting lost love and isolation in the infamous NYC hotel, which roomed countless artists, poets, and musicians.The Canadian singer-songwriter tells us of a less-idealized New York through his signature morose poetry and longing monotone. The Chelsea no longer accepts hotel guests, but it’s still the home of full-time residents and remains an inspirational NYC landmark.08. "New York City" by John LennonThe iconic photographs of Lennon wearing his New York City T-shirt or flashing the peace sign in front of the Statue of Liberty are probably better known than this track. Surely, the Strawberry Fields memorial in Central Park, which pays tribute to Lennon, is more popular than this song.But in between chants of “New York City” and “Que Pasa, New York?” Lennon sings the city’s praises and tells the story of how he and Yoko came to make NYC their home. This fast-paced rock song is Lennon’s ode to New York.Continue to 9 of 10 below.09. "Back to Manhattan" by Norah JonesIn her sultry voice, Norah Jones sings about a personal divergence between lovers and the boroughs of Brooklyn and Manhattan, where she’ll return, “as if nothing ever happened.” The song, a jazz standard-esque ballad, is in line with music from her earlier albums, but it still fits well on the more pop-inspired yet experimental “The Fall.”Jones, originally from Brooklyn and a New Yorker still, knows about the degrees of separation that can form between residents of different boroughs, lovers or not.10. "New York City" by Gil Scott-HeronFrom Gil Scott-Heron’s 1976 double album with Brian Jackson, this soulful jazz track has a groove as smooth as the vocals “New York City/I don’t know why I love you/could be you remind me of myself.” The bossa nova-like breakdown comments on the multicultural makeup of NYC and then comes back to a bluesy piano-horn-bass-drums concoction, subsumed by Scott-Heron’s poetic words.He expressed some cynicism in “New York Is Killing Me” from his final album “I’m New Here,” but as Scott-Heron sang on “New York City,” “The music from every nation/helps make the island one.”
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Will asteroid mining companies control the world's global economy?
Probably not. Asteroid mining companies will control water, energy, fuel, and raw material delivery in space. Asteroid mining is all about sourcing materials from space FOR space.As the population of our planet continues to expand, and we consume Earth’s resources along with this expansion, we will eventually begin to colonize space and other planets (or stagnate and eventually die off as a species). Technology is now advancing at an exponential pace that actually enables this expansion (AI, sensors, robotics, autonomous operations, 3D printing, etc.) The ability to harvest the resources of asteroids is a prerequisite of our expansion into space. It is one of the underlying capabilities that is required to support a permanent presence in space. Launching everything you need from Earth is simply not sustainable. So…these companies will indeed be huge by today’s standards, and they will control many things related to the economy, but they will probably not control the “global” economy - which is difficult to even define when we become a spacefaring civilization.
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Is the Observatory from Assassins Creed possible?
It's not scientifically possible for there to be any sort of active ”link” to exist between a person and their blood once it was been removed from the body. Once it's out, the normal biological processes which affect blood such as osmosis, hormonal interactions, oxygenation etc can no longer occur, plus blood has no other function beyond these known processes, which require some form of cellular contact to be able to take place.Plus, if you could maintain a link with something that has been removed from your body, wouldn't that be firstly rather unpleasant and secondly really, really confus...
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How do you do check washing?
Dishwasher, spotless detergent, sense of humor.If you have to ask it's because you aren't the right person in the right position to be undertaking such endevours. Just being straight forward and honest.How ever on a serious note, it depends. If I were to make an assumption on your available tools (makeshift)(tweaker) and selections of agents, paying attention to keeping it simple, I will assume you'll be working in a room in your apartment or hotel room (recommend hotel room, not expensive, not motel 6, like in the middle) (Pay cash dummie) basically you want the stock and water mark. Right? Because everything else is basically your focus. Now are we looking to end our adventure with blank stock? Or perhaps your intending to wash the amount only, retaining the signature ….clearly the easy way is to wash all the print, including the signature, how ever be aware that it is (for various reasons) the signature that is often what gives it away. And some check have the print encoded on the back, so if it doesn't http://match…well….is the stock heat sensitive…because the simplest way I can think of that is low key, cheap, and won't attract any attention is an areosole can of carb/choke cleaner from pep boys, a simple rack made from something like small wooden laundry clips, or paperclips but metel is not ideal. A cookie sheet, and an oven with accurate temperature control and a separate thermometer.Now I'm not going to stop by step, but if you cant figure it out from here, good luck, and by that I mean with your public defender.You want the paper to hang in the oven, but you don't want it to hang so gravity can pull the ink down. Hang flat right? Control your carb choke cleaner, it's not like your wiping 5 dollar or 30 dollar bills to reprint 50 and hundreds. Oven temp important, Google it with respect to the evaporation temperature of ink. Consider that the ink my be metallic. Figure out some way to do several test runs. Several. Save your best stock for last, when you are more confident with what your going to attempt. Even if it is the best stock you had, it means nothing if your adjustment is not as equil as what you removed. That includes and imperfections the original may of had like centering or spacing. The better you can match the position of the type over the old the better. Certain amounts will always require verification. I seriously doubt you have such means to encode …not that I do, or did in my day, I had a friend who could and honestly I understood the basics, but passed on learning many things, as I specifically preferred working as a small team with a plan and specific set of abilities that partly overlapped but included certain contributions from each person that only really they could accomplish. Properly. That way it forces every one to work as a team, and only as a team. That way you maintain quality, liabilities, consistency, process, and plans b,c,and d, with respect to clean up, clear out, cash out, and bounce. Or, scurry, scatt, forget or remember. ( The last being if things go all bad we break, scatter, assess our circumstances, if in custody or close to it, you forget, if your clear you remember to make that call to our lawyers (5000 retainer damn strait) , those who were clear called those in custody did nothing. They just forgot everything like amnesia. That way the lawyers would be on their way and nobody knew they were comming(police act much differently when they have no idea you have a lawyer and he is on his way). Then after that call you round up the “oh shit funds” which were split up and scattered reasonably far, like 45–60 minutes away anywhere from a pobox at a mailboxes etc in someone else's name to certain large rock in a remote area of the Sonoma coast line, or one time it was a large amount of silver melted down and shaped like a crude anchor left in plain sight like a decoration at a seasonal sea food restaurant in Bodega Bay with a small gold brick we made that looked like something added to the chain for weight that we spray painted to look shitty and left there for 3 months just to say we had the balls, and were crazy enough to use em. Was a bitch cleaning the paint off the silver. Any way, my partner had half of us in a hotel room in San Francisco with about $40,000 (partly cash, mostly on library and Safeway club cards that we recoded with bank card data. You know so if some one asked any questions all you have in your wallet is a reasonable amount of cash, a library card, and every grocery store lotalty card there was. Most people will never notice you swiped an Albertsons club card to pay for something instead of a master card with a name that may or may not be your. Honest story my partner (he had us waiting for 15,000 hits of extacy which just happened to come through someone normally all good but just happened to get noticed tailed) wouldn't listen when I made the call that it was time to bounce, 15,000 hits or not, but he had paid the guy half to go get it, and wouldn't go without it despite the fact we had built up over 50k, in 3 months, not including the several thousands we used to live off of using accounts we opened in other people's names that they were unaware of, because we weren't stupid, we resealed the mail and re delivered it the next day like nothing. So any way myself and..Tim we might call him…left. We were going to meet up later. My partner got the 15,000, handcuffs, and more charges than you could make on MasterCard Gold card account in someone else's name, but with your name on the physical card, (we just moved the card data around) and a $8500 limit. That's a lot of charges. See he was the guy who knew the computer. He was the guy who at one point was contracted to work on the computers at the DMV and was able to get in for several months. Know what better than a perfectly forged check made from blank stock that even the people who didn't actually issue it didn't catch for a couple days? I'll tell you what, a actual live valid check with the actual name of the person who account it is, and a California ID with their name and information. But your photo. We actually bought gold dust because we found out, or at least we were pretty sure it was true, that one of the security measures California took was a small amount of gold in the state seal on the ID card. Either was they was good. So he had the computers, luckily he removed 3 of the hard drives and stashed them. Not the case with his laptop which he always had with him. He and..”Tim" got caught. Tim got caught for something else initially, let's just say it involved his some other guys dick, a Nissan Maxima,(stolen but not yet reported), a over due rental truck in some 50 year old man on vacation in Australia, a car fire at a motel 6 (said Maxima), and a high speed pursuit just in time for the afternoon news cast of Tim, his girl, a crew cab Chevrolet 4×4 z71 pickup truck (with obvious signs of several attempts by Sonoma law enforcement to stop it), helicopter footage of his crazy ass and high as fuck on meth girlfriend hanging out the window screaming “he's gonna kill us!” Accross 20 mile from Sonoma to Santa Rosa, I shit you not half of which was on the rims because the cop threw out spike strips, thinking that would stop Tim, which I knew wouldn't have stopped him even if he was on foot. Tim was crazy, this is the same man who about 3 years earlier led police on a low speed pursuit from a home Depot on a stolen lawnmower he planned on driving home at 6 am one morning to sell to some hell's angel guy his dad knew who mentioned he was looking to buy a ride mower to be mow the field behind his house, to which tim asked” you got cash?” and he said, “cash, and dope trade”. So, I'm on my way to Tim's house one morning, and I look over to the road that runs next to the freeway I was on, and see 3 cop cars with lights on. And some big fat crazy guy in shorts, a bomber jacket (hood up) flip flops, in what appears to be a police chace at 5mph, while some guy mows the weeds in the side of the road, and I kinda wondered if he was actually mowing the weed and the cops were like providing escort, but then why are there 3 cop cars, all behind him? I figured that was probably enough meth for me for now, I think I'll take a nap when I get to Tim's. I walk in his house and his girlfriend was talking to him on his cell phone. She handed me the phone and he asked me to bring him some gas. About that time I realized it sounded like he was…”Tim…us that fucking riding lawnmower I hear?” Maybe…he says. That was him, on old redwood making his lawn mowing get away, I should have known. Tim was crazy, God I loved that crazy fuck. Knew him since 5th grade. Man hardly changed in 20 years. Was not suprised one bit to turn on the news and see him cruising wine country with a half naked girl hanging out the window screening and down to the bare rims with Sparks flying! Unfortunately he was heading almost strait to my house. They managed to stop him about 6 blocks away.Long story short, how do you wash a check?You fucking don't bro. Of my entire team, I'm the only one who didn't get caught up, didn't get charged, didn't do time and didnt forget. The lawyers were called, money got put on their books, time got served but wasn't as bad as it could have been because for some reason some evidence got ruled inadmissible and the assitant DA decided work with the lawyer for a plea. The judge wasn't very happy, with the evidence situation or the plea bargain. But the judge was happy to get my partner and Tim out of his court. Oh, did I mention my partner was the dick in Tim's girlfriend? Yeah, poor form man…funny side note, my aunt was an undercover narcotics agent, and when we were Young taught me and all my cousins how the system worked, what out rights were, how to talk to a judge, when to know it's time to cut your losses and let what ever might be coming go. If your really good, you can walk away from $50,000 on a hunch, because as much as it sucks, you can do it again. And when you do (thanks auntie) you remind your self 50k is alot of cash. But it's not 5–10 years fellony charges good luck ever getting a decent job kind of money. Shit I made $46,000 in 2016 working at the United States Post Office. was never lost on me the irony of how I could tell what type of mail would be in a person's box based on his clothes, or his manorism while buying stamps or some shit. Nor how I could tell who just dropped a box full of weed in the mail to be shipped to the east coast. Pulling packages of weed out of the mail stream was part of my responsibilities as dock clerk.But yeah.Don't wash a check.Don't wait a day and a half longer than planned in a San Francisco hotel room waiting for 15,000 hits of extacy even though you have thousands of dollars waiting in a cabin out in the redwoods, and literally know 10 other people on the way you can get e from on the way, just not more than maybe 10 or 20 hits in one purchase. If your 14 miles into the pursuit and already on the rims, then fuckit ride that bad choice till rims fall off, but make sure to act like your still driving along when the cops come to window. Act surprised that their there and yell at them “ get out the road are you crazy?” Yeah they hate that shit. Make them chase you 20 miles after several failed attempted with every tool they had available and then be a smart ass genuinely amused at your dire circumstances. Later he told me he was heading to my house to make sure I heard about it, he wanted to leave marks in the asphalt down my street to prove he drove all the way from sonoma with all the cops who couldn't stop him just so I'd seem him and he'd give me what's up essay with the head nod, and I'd call the lawyer arrange the retainer for the extra charges that was almost like tims signature move. Every time he went to jail there at least 1 crazy thing that happened. One time he was hanging with some hell's angels friends of his dad's, when the cop conducted a raid. They threw the flash bang granade through the window and Tim with pure instinct snatcheed up and threw it back out so fast they actually heard the seat team yell “shit move take cover” BANG! 10 minutes later they tossed another one gently through the same hole in the glass and Tim just out his hand over the hole and “hey!, nooo, no! “ surprisingly they only charged him with “improper or unauthorised use of an explosive device during a narcotics investigation without intent.” The judge couldn't wait to hear how Tim got that charge, but no drug charges even though they did seize drugs. The judge laughed and cut him loose. Said he would done the same thing, the SWAT team should have paid more attention to where they threw it and where the suspects were sitting. Flash bang granades can cause serious burns, and hear damage.But yeah, I've washed a check before…changed my life several times over.If course now 10 years later? Man I don't do shit. If that light is red, I come to a complete stop boy ….
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