performance and capacity

RAID (originally redundant array of inexpensive disks, now commonly redundant array of independent disks) is a data storage virtualization technology that combines multiple physical disk drive components into a single logical unit for the purposes of data redundancy, performance improvement, or both.

Data is distributed across the drives in one of several ways, referred to as RAID levels, depending on the required level of redundancy and performance. The different schemes, or data distribution layouts, are named by the word RAID followed by a number, for example RAID 0 or RAID 1. Each schema, or RAID level, provides a different balance among the key goals: reliability, availability, performance, and capacity. RAID levels greater than RAID 0 provide protection against unrecoverable sector read errors, as well as against failures of whole physical drives.

really though can someone name a time in recent history when Ariana went to an award show just to sit in the crowd? She never goes unless she’s winning, performing, or presenting in some capacity. 

If she goes to the Grammys this year it means something. 


Guitar Riffs, Instant Ramen and Ditching Music Labels with Japanese Rock Group Tricot

To see more of Tricot guitarist Ikkyu Nakajima and her band’s adventures, follow @ikkyu193 on Instagram.

(This interview was conducted in Japanese)

There are certain situations that hammer home the unglamorous realities of a rock band’s lifestyle. Watching three girls drop off their instruments and then promptly tuck into a cup of instant ramen in a poorly illuminated basement on an otherwise pleasant Sunday afternoon in central Japan –– when the rest of the country is enjoying the first weekend of hanami season by getting drunk underneath freshly blossoming cherry trees –– is very much one of those times.

The three girls are part of the Japanese rock group Tricot (pronounced “tree-ko,” after the French word for a type of knitting), who are killing time ahead of their scheduled soundcheck at the intimate Club Sonic in Mito, the capital city of Ibaraki prefecture, where they will later perform to a capacity crowd of around 150 lively fans. The backstage room’s heavy-duty soundproofing results in an oppressive, muted silence that begs for an interruption, but the members –– Ikkyu Nakajima (@ ikkyu193) on guitar, Motoko “Motifour” Kida, also on guitar, and Hiromi “Hirohiro” Sagane on bass (the three share vocal duties) –– sit quietly for long spells, comfortably silent around each other in the way that only the closest of friends can be.

Guitarists Nakajima and Kida have known each other since their school days in Shiga prefecture, while bassist Sagane studied not far away in Kyoto. “Kida and I were in the same band club at school, although we weren’t in the same band at that time,” explains Nakajima. “About three years after graduating, when we were 21, we got together and finished the bands we were playing in and formed our own.” Since that moment, in 2010, Tricot have gone on to release two full-length albums, 2013’s T H E, and A N D, released this past March.

Both records showcase a distinctive style that is surprisingly difficult to pin down. Tricot pair emotional vocals with complex, layered guitar riffs, which result in a pleasantly unpredictable sound. Kida name-checks Japanese pop musicians Shiina Ringo and Bonnie Pink as influences, alongside funk-soul legends Earth, Wind & Fire, whilst Nakajima nostalgically talks about covering mainstream rock and metal acts like System of a Down and Fall Out Boy during high school.

The new album A N D, as its conjunctive title suggests, arrives at a time of transition for the band. Although the group originally started out drummer-less, they were later joined by percussionist Komaki, who went on to become a regular member. His recent departure has meant they’ve had to re-adapt to being a three-piece. “Since our drummer left, we’ve been composing the percussion ourselves,” says Nakajima. “We plug the guitar and bass lines into a computer on GarageBand and then come up with a drum rhythm on there.” In the studio and on stage, the drums are then left to whichever guest member has been tasked with percussion duties –– and there’s no shortage of them. A N D features no fewer than six different guest drummers. “When we went back to being a trio, we realized we had the freedom to work with whichever drummers we wanted to. We had certain people in mind for certain tracks,” says bassist Sagane.

On this occasion, it was Miyoko Yamaguchi, formerly of Detroit7, joining the band live. Yamaguchi is also featured on the album, as are drummers Toshiki Hata and Kousuke Wakiyama, who, between them, have worked with well-renowned Japanese rock band Zazen Boys and singer-songwriter Miyavi. The members of Tricot are keen not to downplay their contributions. “The title A N D was to convey the idea that this album wasn’t just about us,” explains Nakajima. “Likewise, with the cover design, it’s not just our hair depicted –– there’s extra artificial hair mixed in that spells out ‘A N D’.”

The playful inventiveness behind the album’s artwork is something that has been ever-present in Tricot’s music videos over the years. The video for “Oyasumi” makes use of an empty baseball field, whilst “Pool” depicts an intimidating crowd of smartphone-wielding bodies encroaching on the band’s performance. The video for fan-favorite “Break” is especially memorable, packing just about the same cathartic wallop as a particularly tear-jerking “Humans of New York” update. The video, created shortly after drummer Komaki left the band, shows a collage of clips sent by the band’s fans, in which they symbolically tear up words that represent the troubles they want to break through in their lives, be it “gender,” “self-loathing” or “apathy.” As memorable as the concept is, it’s the band’s deeply sympathetic relationship with their fanbase –– without which, such a video could never be possible –– that impresses the most.

“We had a lot of comments on social media and YouTube from fans all over the world, so we were aware that we had a big fanbase overseas,” Nakajima explains.

Their unmediated, honest approach to social media channels is just part of a wider DIY aesthetic that is far from the norm in Japan –– and, in this case, makes up a large part of Tricot’s charm. All of their records have been self-released domestically through their own label, Bakuretsu Records, and all of their videos and other promotional material have been self-funded. “When we first started Tricot we thought that we wanted to be signed to a big record label but we don’t think it’s cool at all,” says Nakajima. “The way we’re doing things at the moment, we have absolutely no idea what’s going to happen next — and that’s precisely why we want to do it this way.”

–– Mike Sunda for Instagram @music

To anyone that thinks Exo got it easy

May I remind you Exo was called SM’s failure back in their debut days? May I remind you how hard each member worked only to GET into SM(just think about Jongin who didn’t get in the first time and practiced 2 more years to audition again and get in). May I remind you Exo works 25/8 just to get everything perfect for us, so we are happy? May I remind you they lost 3 members and kept going, kept being strong for us. They didn’t abandon no matter how hard it was(imagine the pain the fans felt when OT12 collapsed and multiply it by 100 and you’ll start feeling how Exo’s members felt). Let me also remind you that they’re under SM, aka they get zero and when I mean zero, I mean zero rest. They work all year long, they never rest, they always wanna make us happy, they feel bad when they can’t perform to their 100% capacities because of exhaustion, they feel bad for ‘disappointing us’ when they get injured because that way we get worried about them and that way we don’t see them perform. This literally breaks my heart into a million pieces. Remember when a camera hit Sehun on his precious head and so he couldn’t perform; he cried at the end of the concert for 'letting us down’ and worrying us. Something even more recent; Jongin always feeling bad and thinking he’s letting us down because of his injury. That’s not even all. Exo went through probably the most shit in the entire Kpop community; they lost ¼ their group. People often use OT12 as a joke or something to pity us. Sorry hun, but let me tell you we got stronger, closer and we learned a lot from it. In the beginning of me entering the fandom I remember always crying when OT12 was mentionned or when I saw Kris, Luhan, Tao. Now, after 3 months of me being an Exo-L, I can assure you I grew from it, I got stronger and it has helped me accept the fact that not everything is beautiful and ends well in life. Exo’s strength and power helped me get through my depression, they made me laugh and smile and cry when I couldn’t feel anything; when all I had was being numb. So let me finish this long post on something happier; Exo-Ls might be the fandom that lost the most, that was the most heart broken, that is the more broken emotionally but let me tell you we grew stronger from it; we got closer and we’re better now. I’m not saying I forgot about OT12 because that’s impossible, OT12 will always have a part of my heart and I still believe, to this day, that once Exo is over, OT12 will be able to peacefully reunite and contact each other publicly again; until then, let’s pray for the best for everyone. Exo-Ls are the most welcoming fandom, the warmest and the sweetest fandom I’ve ever seen; I thank god every day for letting me be a part of it.


In later life, a small number of the RAF’s Shackletons were subsequently adapted for airborne early warning (AEW) duties, performing in this capacity until the type’s retirement in 1991.
To be honest, all I wanted to do, all I ever, ever wanted to do, I just wanted to perform. I just wanted to perform in whatever capacity, whether it was acting, singing, dancing, comedy — whatever it was, I just loved it and felt at my absolute happiest when I was performing for people. And if that’s what you want from a job, then this is the best job you could ever do.

following the start off of ticketing at 8pm kst, it’s been unoffically confirmed that both days of the kick off of shinee’s fifth concert tour, shinee world v, have completely sold out. according to multiple sources, the site crashed at least five minutes before ticketing had began (with some saying it crashed for them as early as fifteen minutes beforehand) and the tickets may have sold out less than two minutes after ticketing began. as of 8:20pm kst, the site is still unaccessable for most. for reference: the concerts are being held at the olympic gymnastics stadium (which shinee usually performs at) which has a capacity of 15k.