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The Targeting of Dr. Stella Immanuel
By Celia Farber
https://stateofthenation.co/?p=22829
Her "talk" in Washington DC, is now the gauntlet in what many are calling the last battle."
"And I hug them, and I tell them, "it's going to be okay. You're going to live."
Dr. Stella Immanuel
Opinion by Celia Farber
Her talk in Washington DC, is now the gauntlet in what many are calling the last battle.
We all sent it to each other, through phones, emails, texts. "Have you seen this?"
I remember where I was, exactly. I saw it on JB Handley's twitter feed, and he called her his new hero. She was one of 10 MD's calling themselves "America's Frontline Doctors", who stood up like Charter 77 in Communist Czechoslovakia, put their entire careers on the line and spoke the whole truth as they know it, about Covid-19. One of them, in particular, became a global sensation.
She stood straight; head slightly tilted as though listening. She seemed to have no fear, no shame, she had a clear message, and she took her time.
"Hello, I'm Dr. Stella Immanuel. I'm a primary care physician in Houston, Texas. I actually went to medical school in West Africa, Nigeria, where I took care of malaria patients, treated them with hydroxychloroquine and stuff like that. So, I'm actually used to these medications. I'm here because I have personally treated over 350 patients with COVID. Patients that have diabetes, patients that have high blood pressure, patients that have asthma, old people ... I think my oldest patient is 92 ... 87-year old's. And the result has been the same. I put them on hydroxychloroquine, I put them on zinc, I put them on Zithromax, and they're all well.
For the past few months, after taking care of over 350 patients, we've not lost one."
She was like a bolt of lightning splitting an old dead tree. We were dying, from lack of any words of hope spoken over us. And this was precisely the surprising feeling, that came over me as I listened to her: I felt hope.
And a voice carried a message from and to my own soul that I felt I should keep secret, but I confess it here. When I heard Dr. Stella Immanuel speak those words, ("...you're going to live...") the voice said: "She's a Christian."
All-day, every day, the Adversary has the mic, the floor, his hands around our throats- Now for the first time in ages, an actual Christian was speaking. And millions listened.
People may not have understood what it was that so affected them, made them, at least for a time, step out of chains of fear. But they listened to her with rapt attention and shared her video like wildfire.
"Not a diabetic," she said, "not a somebody with high blood pressure, not somebody who [with] asthma, not an old person. We've not lost one patient. And on top of that, I've put myself, my staff, and many doctors that I know on hydroxychloroquine for prevention because by the very mechanism of action, it works early and as a prophylaxis. We see patients, 10 to 15 COVID patients, every day. We give them breathing treatments. We only wear surgical masks. None of us has gotten sick. It works. So right now, I came here to Washington DC to say, America, nobody needs to die."
It was like a comforting parent in the sickroom of your childhood, telling you were going to be alright. That meant you were going to be alright. As Christians stress: "The power of life and death is in the tongue."
This sentence, of Dr. Immanuel's, is extremely important. "Nobody needs to die." A digression, hopefully short:
Deja Vu All Over Again
In a previous battle that raged about 23 years, the HIV wars, between NIH/Pharma/WHO/Gates/Fauci et al on the one side, and individual, incorruptible, classical scientists (like Peter Duesberg, Kary Mullis, Lynn Margulis, Etienne de Harven, and hundreds more)-I was a war reporter. I came home missing limbs, with C-PTSD, disassociation, etc. from the vicious relentless abuse, murder attempts, and sheer total insanity at every level. I'm so glad it happened.
I got a PhD in the real war, the only war: LIFE V DEATH.
Real biology vs. Biology harnessed by Globalist banking interests. These "viruses" create para-economic systems, throwing all of humanity into debt-based consciousness. You are in debt to them, while healthy, while your life is hedged, or mortgaged. Fear is the driver of this weaponized paranormal virology, and this being so, I began some 10 years ago to see what it actually was, namely a battle between Good and Evil. (I'm sorry "science" friends-you know this is where we change trains.)
That line: "You don't have to die-" that was our line, and we were despised and attacked like you cannot imagine. The "HIV deniers," as they called us. I must be careful because this is a digression I could veer off on and never come back. I told you: A 23-year war. And they ‘won,' so the war came back in a new form, the one over the whole world now. Its name is COVID-19.
They (the globalists) hated when we de-fanged their "deadly virus" (which was neither) and told people not to be afraid, that they did not have to die. Their heads all but spun around. They told us we were "murderously irresponsible" and were killing masses of people, in Africa especially, with our dangerous ideas. We were attacked, fired, de-funded, de-platformed, bullied, threatened, surveilled and even in some cases killed. A persecuted ideological minority, opposing "fake" (un-proven and alien) virology, which is really dark economic warfare.
Fear, like Propaganda, (they are in a sense the same) must never pause, must be relentless.
Dr. Immanuel, from Cameroon, where 3/4 of the population are Christian, continued:
"I'm upset. Why I'm upset is that I see people that cannot breathe. I see parents walk in, I see diabetics sit in my office knowing that this is a death sentence and they can't breathe. And I hug them, and I tell them, "It's going to be okay. You're going to live." And we treat them and they leave. None has died. So, if some fake science, some person sponsored by all these fake pharma companies comes out say, "We've done studies and they found out that it doesn't work." I can tell you categorically it's fake science. I want to know who is sponsoring that study. I want to know who is behind it because there is no way I can treat 350 patients and counting, and nobody is dead and they all did better.
I know you're going to tell me that you treated 20 people, 40 people, and it didn't work. I'm a true testimony. So, I came here to Washington DC to tell America nobody needs to get sick. This virus has a cure. It is called hydroxychloroquine, zinc, and Zithromax."
The media's Modus Operandi is to scare people, even to the point of death. Elias Canetti, in Crowds and Power, said that people do this in order to deflect their own fear of death. He wrote:
"The deception is complete. It is the deception of all leaders. They pretend that they will be the first to die, but, in reality, they send their people to death, so that they themselves may stay alive longer. The trick is always the same. The leader wants to survive, for with each survival he grows stronger. If he has enemies, so much the better; he survives them. If not, he has his own people. In any event he uses both, whether successively or together. Enemies he can use openly; that is why he has enemies. His own people must be used secretly."
This is, by the way, to my mind, the book that best catalogs this age: Crowds and Power, by Elias Canetti, [Masse Und Macht] published in 1960. Because this is the age of The Crowd.
Who killed Christ?
The Romans, say some. The Jews say others. Both wrong is my thought: It was the crowd.
Canetti got inside these "beings" (different types and formations of crowds) and spoke their needs and intentions-translated them: "Baiting crowds," "flight crowds," "prohibition crowds," "reversal crowds," "feast crowds," were just a few he cataloged. Also "packs," like Hunting packs, increase packs, lamenting packs, and more. The crowd, he explained, wants to grow. Inside the crowd, there is liberation for the individual. Individual responsibility is dissolved. Hence: Crowds are extremely dangerous.
Canetti, Bulgarian born, began work on Crowds and Power in Weimar Germany.
My sense of hope escalated when Dr. Immanuel took a few sacred cows on:
"And let me tell you something, all you fake doctors out there that tell me, "Yeah. I want a double-blinded study." I just tell you, quit sounding like a computer, double-blinded, double-blinded. I don't know whether your chips are malfunctioning, but I'm a real doctor. I have radiologists, we have plastic surgeons, we have neurosurgeons, like Sanjay Gupta saying, "Yeah, it doesn't work, and it causes heart disease." Let me ask you Dr. Sanjay Gupta. Hear me. Have you ever seen a COVID patient? Have you ever treated anybody with hydroxychloroquine and they died from heart disease? When you do, come and talk to me because I sit down in my clinic every day and I see these patients walk in every day scared to death. I see people driving two, three hours to my clinic because some ER doctor is scared of the Texas board or they're scared of something, and they will not prescribe medication to these people."
Then came the important rebuke, the thing that needs to be said that nobody says:
"I tell all of you doctors that are sitting down and watching Americans die. You're like the good Nazi ... the good one, the good Germans that watched Jews get killed and you did not speak up. If they come after me, they threaten me. They've threatened to ... I mean, I've gotten all kinds of threats. Or they're going to report me to the boards. I say, you know what? I don't care. I'm not going to let Americans die. And if this is the hill where I get nailed on, I will get nailed on it. I don't care. You can report me to the boards, you can kill me, you can do whatever, but I'm not going to let Americans die.
And today I'm here to say it, that America, there is a cure for COVID....And it is time for the grassroots to wake up and say, "No, we're not going to take this any longer. We're not going to die."
You all know what happened next: Down came what Hunter S. Thompson called "the million-pound shithammer."
Like when Joe Louis knocked out Max Schmeling 2 mins and 4 seconds into their second fight in 1938, and Adolf Hitler simply cut OFF all German radio transmissions...
YouTube, Facebook, terminated the videos, calling it dangerous and false. The doctors' website was even removed by Squarespace. Dr. James Todaro, one of the 10, whose work we quoted earlier in our article about Lancetgate, shared the cancel message on Twitter. Squarespace wrote:
"Hi there,
We have determined that you are currently in violation of Section 3.1 of our Acceptable Use Policy regarding activity that's false, fraudulent, inaccurate, or deceiving. Pursuant to this finding, we have suspended your site...Please note that we reserve the right to suspend your Account or Your Sites at any time and for any reason and to enforce our Acceptable Use Policy in our sole discretion. Thank you [wait for it] for your understanding." [Italics mine]
10 medical doctors giving their summations of a medical treatment most countries offer over the counter, with a 65-year safety record, stopping deaths, while the official protocol is admitted being largely a conveyor belt of death.
The flying monkeys were quickly dispatched to descend on Dr. Immanuel. CNN peddled the idea that the doctors were no real doctors at all. But the honor of the kill went to Will Sommer of The Daily (wait for it) Beast, whose concealed colonialism/racism was on display, as he conflated Dr. Immanuel's religious beliefs with clinical insanity. He published this.
With a few hours, Dr. Immanuel was " Trump's Demon sperm doc," and we were off to the races. But she fought back like iron forged in fire. "To be honest, I love the battle," she tweeted, with an emoji of herself as a triumphant boxer, and with gentle humor offering to cast demons out of Will Sommer. Getting more serious, she said in a follow-up video, which has now been removed for "breaking the Twitter Rules": "If you've taken HCQ and you've been cured, it's time for you to speak up. We've put our lives on the line." She asked people to tell their stories in short videos or tweets with the hashtag #HCQWorks. Many appeared, from all corners of the world like this one and this one.
Likely, if it is not already, our moral guardians will forbid these tweets too. Can people leave messages under rocks in the woods telling each other how they cured themselves of "Covid-19?"
How detestable is censorship? How revealing, too.
Until I had to fight hand to hand combat with the demonic dimension, I didn't understand it either. But now I do.
As a Christian with only about 5 years of practice, having come through the field of Demonic Medicine, I understand what Dr. Immanuel is saying. Not only that, I feel that only a powerful, ideally African, but Christian voice such as hers would also have put a dent in this bondage.
What people don't understand about Christianity is this: It is a faith that recognizes fear as the coin and currency of its enemy, Satan. Christians pray for one another to dispel fear, for God did not give us a spirit of fear, and this is virtually the whole of the faith. The sine qua non.
2 Timothy 1:7. "For God has not given us a spirit of fear, but of power and of love and of a sound mind."
1 John 4:18 "there is no fear in love."
Psalm 27:1 "The Lord is my light and my salvation; whom shall I fear? The Lord is the stronghold of my life; of whom shall I be afraid?"
We are on a seesaw; we refer to the "left" and the "right."
There is a force seeking to enslave us, and another seeking to liberate us. I see the opposing forces as Globalism (Communism) V. Christianity.
I believe "they" despise and fear nothing so much as the Christian voice. Nothing else more so utterly holds their demise and undoing, and they know it. The Christian perspective is non-materialistic, and that translates also to matters of the body. It's not a game, for Christians, to eke out every last minute of time on the life clock, but rather, to serve God's will in the time we are here, and not fear death, since we believe Christ came so that we might live.
"The thief cometh not, but for to steal, and to kill, and to destroy; I am come that they might have life, and that they might have it more abundantly."
The racism was not surprising to me-I saw it for years, leveled against particularly Africans, who had any reservations at all against Western drug regimens for HIV.
Soon we read that Dr. Immanuel "operates a medical clinic out of a strip mall next to her Church, Firepower Ministries."
Friends of mine, on many sides, wrote in dismay over Dr. Immanuel's "crazy" notions. I thought to myself: "Well, when are we having the conversation about demons?"
I listened to some of her sermons last night. One of them, I wrote down word for word what she said. An immigrant from Cameroon, a woman-her words more than any I have heard, seemed to strike at the root and not the branches:
"This disease pandemic," she said, "it's bigger than Gilead it's bigger than Democrats and Republicans. It is a diabolic spiritual battle. Sometimes you have to fight spiritual battles spiritually. It is run and lead by people who really don't have the good of humanity in mind. They say a house divided cannot stand. Part of the reason they have been so successful is because we as humanity, our house is divided, or divided in groups. It's not just a physical battle it's also spiritual. Why do I say that? The fear that has been released is bigger than the disease. There's also what I would call a veil of darkness over the minds of people. That you can tell somebody something and they listen to you but somehow it just doesn't sink in. It's like there's a veil over their minds. Sometimes I feel like there's a bewitchment over the minds of people I pray that that bewitchment will be broken over America. We need to speak good about this country. A lot of us Americans have cursed the nation. We speak bad over the nation. We need to start speaking good that "we're going to be OK" that "we're gonna do well," "America's going to live! We're not gonna die! Just use your mouth the power of life and death is in your tongue. There's no need to fear. This disease has a cure. Let it really sink in your head that this disease has a cure and it has a prevention. We're going to be OK. You got to believe that and speak that over your family. And if I can pray, is that OK?"
Celia Farber is half Swedish, raised there, so she knows "socialism" from the inside. She has focused her writings on freedom and tyranny, with an early focus on the pharmaceutical industry and media abuses on human liberties. She has been under ferocious attack for her writings on HIV/AIDS, where she has worked to document the topic as a psychological operation, and rooted in fake science. She is a contributor to UncoverDC and The Epoch Times, and has in the past written for Harper's, Esquire, Rolling Stone and more. Having been gravely injured in legacy media, she never wants to go back. She is the recipient of the Semmelweis International Society Clean Hands Award For Investigative Journalism, and was under such attack for her work, she briefly sought protection from the FBI and NYPD.
Twitter: @CeliaFarber
Web: www.truthbarrier.com
FB: Celia Ingrid Farber
https://uncoverdc.com/2020/07/30/the-targeting-of-dr-stella-immanuel/
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Talk, FEATURED
Tenmou the force behind Startups
BANKING, ECONOMY, FEATURED, NEWS
Interior Minister meets key EU officials
Bahrain Talk
Brussels, Feb. 1. (BNA) – Interior Minister Lieutenant-General Shaikh Rashid bin Abdulla Al Khalifa, who is currently on an official visit to friendly Belgium, met here today the European Union (EU)’s Special Representative for Human Rights Stavros Lambrinidis. Shaikh Rashid informed the EU representative about the Interior Ministry’s efforts to consolidate human rights and provide
Brussels, Feb. 1. (BNA) – Interior Minister Lieutenant-General Shaikh Rashid bin Abdulla Al Khalifa, who is currently on an official visit to friendly Belgium, met here today the European Union (EU)’s Special Representative for Human Rights Stavros Lambrinidis.
Shaikh Rashid informed the EU representative about the Interior Ministry’s efforts to consolidate human rights and provide all kinds of protection for them, stressing the civilised approach based on human rights respect adopted in addressing all issues, which, he said, was reflected in the Government of Bahrain’s way of dealing with the recommendations of the Bahrain Independent Commission of Inquiry (BICI).
The Interior Ministry has gone beyond mere implementation of the recommendations, but has incorporated them within a comprehensive development strategy which it is currently implementing according to clear goals and programmes, explaining that an independent Ombudsman office was established, tight guarantors for arrest and detention procedures have been put in place and intensive training of security personnel was launched, with 5469 persons trained in 2012 and 2013.
He added that citizens from all governorates had joined the Community Police, investigation and detention centres were provided audio-visual recording equipment, norms governing the use of force and weapons, a Police Code of Conduct and an accountability system were devised and the International Committee of the Red Cross (ICRC) and the Commission of the Rights of Prisoners and Detainees have been granted the right to inspect prisons independently.
He also said that a number of plans and programmes to promote human rights principles had been launched, in cooperation with international experts, a Special Investigation Unit (SIU) had been set up at the Public Prosecution to investigate into cases of ill-treatment and a National Fund for the Reparation of Victims had been established.
He pointed out that the National Dialogue in Bahrain aims to reach a “consensual” solution that satisfies all parties, emphasising that His Majesty King Hamad bin Isa Al Khalifa’s initiative to resume it proves the seriousness of the Royal Reform Project.
He called upon all parties to agree on the agenda of the National Dialogue so that it will be effective and help achieve public interests.
EU’s Special Representative for Human Rights Stavros Lambrinidis lauded the initiative launched to resume the National Dialogue among all parties, and asserted that it would consolidate security and stability in the kingdom, expressing EU’s readiness to support Bahrain’s efforts to promote human rights through its expertise in this regard.
He also hailed the establishment of the Office of the Ombudsman, stressing the importance of its independence and effective role.
“Violence, including that which happens during protests, must stop,” he said, adding that the “European Union is for long-term reform and national reconciliation.”
Other issues of mutual concern and the need to continue joint coordination were also spotlighted.
The Interior Minister also met here the Secretary-General of the European External Action Service, and Deputy High Representative of the Union for Foreign Affairs & Security Policy Mr. Pierre Vimont.
He welcomed the Minister and conveyed the best wishes of High Representative of the Union for Foreign Affairs & Security Policy Catherine Ashton and stressed the importance of direct communication to exchange information and reinforce friendly ties between Bahrain and the European Union, welcoming the Royal initiative to continue the National Dialogue by all groups for the best interests of Bahrain and those in the region.
Shaikh Rashid said that the Ministry of Interior has dealt with various situations from the beginning of regretful incidents in 2011 through many reforms and initiatives, including the implementation of the BICI recommendations, affirming that the dialogue will continue and won’t stop despite the hesitation of some groups.
He added that the leadership believes in the importance of the dialogue and reform and stressed that the Interior Ministry is working to create the best environment for the success of the dialogue.
The implications of situations in Syria and their effect on regional and international security were also discussed.
Bilateral relations between Bahrain and the European Union, including coordination and cooperation through exchange of expertise and information were also discussed, in addition to topics related to regional security and stability.
The Bahrain Ambassador in Belgium and an accompanying delegation attended the meetings.
The Kingdom’s Ambassador to Belgium and members of the Interior Minister’s accompanying delegation attended the meetings.
It is to be noted that Interior Minister arrived to Brussels from Washington following an official visit to the United States, where he held a series of meetings with a number of officials from the State Department, the Congress, the Pentagon, the FBI and CIA.
Visiting HAWAR International School
FEATURED, NEWS, SOCIAL
Shaikh Ebrahim Bin Mohammed Al-Khalifa Centre for Culture and Research
FORTS & OLD HOUSES
Azizia Bird Kingdom
Oil Wells – Sakheer:
Sheikh Isa Bin Ali House
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In Uganda there is a small rainforest under pressure near Kampala. The Mukono area is around 1600 hectares. Our own company, Mabira Forest lodge has been developed in this rainforest. The resort can accommodate 50 guests. It has a restaurant and a small swimming pool overlooking the pristine nature. We have targeted a growing group of travellers, tourists, and businessmen and women. People with a conscience who want to enjoy the full potential of a tropical destination without having a negative impact on the people and the planet. This has worked; the lodge still welcomes many tourists every year.
The community in Mukono consists of around 25.000 people. It is a mix of different tribes. They live from agriculture, handicrafts, tree felling and entrepreneurship. Mabira Forest Lodge became also a flywheel for ecological, early circular, social and economic development in the region. It was the driver of transformation to a new economy. We built a new ecosystem in cooperation with many different stakeholders. This was based on a shared vision for the area, our common ground.
The flywheel for integrated transformation became a model we called ‘COOLRegion’. We developed this with Wageningen UR in NL, Forest Trends USA, Ashoka and Kampala University in Uganda. The World Bank noticed the progress we had made in Uganda and invited us to present the lodge and COOLRegion in Washington DC.
Country Estate Landgoed Groot Marienbosch, 823 hectares, is situated in Commewijne, 30 minutes from Paramaribo, Surinam. It is an old cacao, orange plantation with a traditional country house, which was built in 1749. Many animals can be found on the plantation, like monkeys, special birds and many butterflies’. On this country estate sustainable tourism, wellness is combined with ” green” development. Agriculture that is suitable on the partly salty ground of the country estate. University of Wageningen but also islands like Texel in the Netherlands have experience in growing “green” on salty ground. Large-scale forestry is not possible. 100%Zomer was the entrepreneur; co-founder, co-owner and statutory director.
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100% Zomer has prepared many integrated sustainable business plans and feasibility studies. For start-up and scale-up businesses in upcoming markets, such as Malawi and Uganda but also Cabo Verde. In which eco, social and financial values were embedded at the same time. A large African company often founded these businesses. Other clients were start-ups for example from migrants that wanted to develop a business in their home country. Below you can find a selection of the projects done by 100% Zomer.
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You exalt my horn like that of a wild ox. 1 I am covered 2 with fresh oil.
You have exalted my horn like that of a wild ox; fine oils have been poured upon me.
But You have exalted my horn like that of the wild ox; I have been anointed with fresh oil.
But you have made me as strong as a wild bull. How refreshed I am by your power!
But you've made me strong as a charging bison, you've honored me with a festive parade.
But my horn is lifted up like the horn of the ox: the best oil is flowing on my head.
But you have exalted my horn like that of the wild ox; you have poured over me fresh oil.
But my horn You have exalted like a wild ox; I have been anointed with fresh oil.
But my horn
shalt thou exalt
<07311> (8686)
like [the horn of] an unicorn
<07214>_:
I shall be anointed
with fresh
But You have exalted
my horn
like that of the wild
; I have been anointed
Nner
Nmsb
ytlb
ynrq
Myark
Mrtw
<92:11>
(91:11) kai
uqwyhsetai
V-FPI-3S
monokerwtov {N-GSM} to
kerav
P-GS
ghrav
elaiw
N-DSN
pioni {A-DSN}
You exalt
like that of a wild ox
. I am covered
1 sn The horn of the wild ox is frequently a metaphor for military strength; the idiom “to exalt/lift up the horn” signifies military victory (see 1 Sam 2:10; Pss 75:10; 89:24; Lam 2:17).
2 tn The Hebrew verb בָּלַל (balal) usually has the nuance “to mix.” Here it seems to mean “to smear” or “to anoint.” Some emend the form to בַּלֹּתַנִי (ballotaniy; a second person form of the verb with a first person suffix) and read, “you anoint me.”
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 ALL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
TIP #09: Tell your friends ... become a ministry partner ... use the NET Bible on your site. [ALL]
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Home / Rink Geeks / Hockey / NHL / NHLWC / NHL Central Division / Chicago Blackhawks / The Blackhawks Backhand
The Blackhawks Backhand
By Gabriella Garcia
A lot of news this week! Patrick Kane was named third star for the month of December. This is the second consecutive month Kane has been included in the honor, he was named first star in the month of November. During December, he tallied 19 points with nine goals and 10 assists. Kane was honored by the Blackhawks on Sunday with a pregame ceremony at the United Center for his point-streak. He also appears to be a frontrunner for the Hart Trophy, which is an award given annually to the “player judged most valuable to his team.” Kane was also chosen as the Central Division All-Star captain by the fans and he’ll be joined by his teammate in the All-Star game.
Jonathan Toews will join Kane in the All-Star Game on January 31st in Nashville. This will be the fourth time Kane and Toews appear in the event together. They also went as teammates in 2009, 2011, and 2015. Kane did go without Toews in 2012.
Most people think Corey Crawford was snubbed for the All-Star game, but he did make his 300th NHL game memorable. On Sunday, he appeared in his 300th game and he made 26 saves to record his league-leading sixth shutout. Crawford is the first Blackhawks goalie to post six or more shutouts in a season since Antti Niemi had seven in the 2009-2010 season. “It’s been fun the last five years in here,” Crawford said. “It’s been awesome to play in Chicago. It’s gone by so fast, though. Every year the goal is to be predictable, consistent and give your team confidence going into games, knowing what they’re going to get. That’s definitely an important thing for a goaltender.”
Forward Jeremy Morin was traded to the Toronto Maple Leafs in exchange for 24-year-old forward Richard Panik. Morin, who was once one of the Blackhawks’ top prospects, requested a trade last season after falling out of favor with Joel Quenneville and registering zero points in 15 games. The team sent him to Columbus on December 14th, 2014, only to reacquire him in the Brandon Saad trade over the summer. Morin had nine goals and 13 assists in 28 games with the Rockford IceHogs of the AHL this season, and had eight goals and eight assists in 54 career games with the Blackhawks over five seasons. Panik has nine goals and 16 assists in 33 games with the AHL’s Toronto Marlies this season, but has 19 goals and 20 assists in 151 NHL games with the Maple Leafs.
Chicago BlackhawksFeatureHockeyJonathan ToewsNHLPatrick Kane
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About Gabriella Garcia
Just a girl, obsessed with sports. Illinois Media School graduate. Aspiring sportscaster who loves writing.
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Home / Ring Geeks / Boxing / Uppercuts & Count Outs
Uppercuts & Count Outs
By Josh Watford
Boxing misses Mike Tyson. During his prime, fans loved watching him enter the ring and lay waste to his opponents. He would often flatten them in the first round like a crazed beast. Tyson was electrifying. He was a very troubled man outside of the ring, and that aspect of Mike Tyson’s life is well documented, but from a pure boxing standpoint he was an icon. Ever since Tyson hung his gloves up, fans of the heavyweight division have been looking for the next spectacular KO artist — the next “Iron Mike.”
The wait may be over …
Anthony Joshua is looking more and more like the next big thing in the heavyweight division. Not only is he 15-0, he is 15-0 with all 15 wins coming by way of KO. Guess who else started his career 15-0 with 15 KO’s… Mike Tyson.
Joshua isn’t drawing comparisons to Tyson just because he is knocking his opponents out. He’s drawing comparisons to Tyson because he’s knocking his opponents out quickly, easily, and in impressive fashion — just like Tyson used to.
Here’s a quick comparison between the early careers of each fighter:
Joshua’s First 10 Fights
Total time elapsed: 2,218 seconds
Average match length: 3.69 minutes
Average time of KO per fight: 41.4 seconds into the second round.
Tyson’s First 10 Fights
Average time of KO per fight: 7.5 seconds into the second round.
These numbers reveal that Joshua prefers to finish his opponents early in fights, much like Tyson did.
Joshua, like Tyson in his prime, physically looks like a heavyweight superstar. He may even look the part more so than Tyson did. Tyson’s physique was intimidating, not many would argue against that. The guy was pure muscle. But Tyson was less than six feet tall. He had to get inside to unleash his power. Joshua doesn’t have that problem. He’s 6’6” and weighs around 235 pounds. Plus, he is every bit as muscular and ripped as Tyson ever was. Opponents who face him have to be at least a little intimidated by his stature alone (if not very intimidated), which gives him a bit of a psychological edge in most of his fights.
Not only does Joshua have the physical tools to be great, he has the boxing ability too. He had a stellar amateur career that culminated with an Olympic Gold Medal in 2012, and he has already beaten a few decent fighters in his young professional career — most notably and recently Dillian Whyte, who was previously unbeaten.
Joshua is only 26 years old, and he has only been boxing since he was 18. That means he has plenty of time, and plenty of room, to improve. The sky is the limit for this young, up-and-coming heavyweight.
Tyson Fury, the current WBO, IBO, The Ring, and WBA heavyweight titleholder, already knows that a date with Anthony Joshua is looming sometime in the future after he defends his title in the mandatory rematch against Klitschko. Fury has been publicly calling Joshua out recently… be careful what you wish for Tyson Fury.
On the way out…
Manny Pacquiao turned 37 years old last month, and he has recently announced that his upcoming fight on April 9th against Timothy Bradley Jr. will be the last time he steps into the ring. The time has finally come for boxing fans to bid farewell to one of the greatest pound-for-pound boxers the sport has ever seen.
Pac-Man’s accomplishments include winning world titles in eight different divisions and winning the lineal championship in four different weight classes. He is the only boxer to ever achieve such feats. He also boasts one of the most impressive resumes in the history of boxing in terms of how many legends he has beaten: Marco Antonio Barrera, Juan Manuel Márquez, Érik Morales, Oscar De La Hoya, Ricky Hatton, Miguel Cotto, and “Sugar” Shane Mosley.
Unfortunately for Pacquiao, the Floyd Mayweather Jr. ordeal left a smudge on Pac-Man’s legacy. In 2010, when both fighters were in their primes, fans wanted to see the two all-time greats square off. Due to contract disputes over blood testing, the fight did not take place that year. Mayweather’s camp basically insinuated that Pacquiao wouldn’t submit to the blood testing requirements that had been outlined due to the fact that Pacquiao was doping. Pacquiao’s reputation was damaged, and the fight between he and Mayweather wouldn’t take place for another five years.
When the fight finally did take place, in May 2015, it was billed as the “Fight of the Century,” but it wound up being more like the “Disappointment of the Century.” Mayweather’s defense was superb (as always), and he defeated Pacquiao by unanimous decision, but many fans were outraged at the manner in which Mayweather won. He seemed to simply avoid Pac-Man throughout the fight, never giving the fans the action that they craved after such a long buildup. To this day, Pacquiao still believes he did enough to win that fight, but the record books say otherwise.
On April 9th Pacquiao will face Timothy Bradley Jr. for the third time. In their first fight, Bradley won a split decision. It was one of the most controversial decisions ever, so a rematch was scheduled. Pacquiao won the rematch by gaining a unanimous decision. The rubber match between Bradley and Pacquiao on April 9th will most likely be a great fight because Bradley is now in his prime as a fighter; meanwhile, Pacquiao definitely wants to end his career on a high note. Pac-Man fans would love to see their hero ride off into the sunset with one more victory under his belt, but Bradley will look to use the opportunity to announce to the world that he is now the gold standard in the welterweight division.
AJAnthony JoshuaboxingCleat GeeksFeatureFloyd Mayweatherheavyweight classIBOIron MikeJ-DubJosh WatfordKnockoutsKOManny PacquiaoMike Tysonrematchrubber matchThe Fan ZoneThe RingTimothy BradleyTyson FuryundefeatedWBAWBCWBOwelterweight class
← Previous Story Women’s Wrestling Wrap-Up
Next Story → 5 Things We Learned From RAW
About Josh Watford
Josh Watford is a sports writer and radio personality based out of Atlanta, GA. He has been passionate about sports ever since he was a young whippersnapper growing up in the small community of Beulah, AL. Josh covers boxing and Atlanta Braves baseball for Cleat Geeks, and he is a radio personality for The Fan Zone (Twitter handle: @thefanzone404). He attended Georgia Gwinnett College and graduated with a Bachelor’s degree in English. Check out his website: joshwatford.com. Follow him on Twitter @JAWatford.
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draft-ietf-pce-wson-rwa-ext-05.txt
Network Working Group Y. Lee, Ed. Network Working Group Y. Lee, Ed.
Internet Draft Huawei Technologies Internet Draft Huawei Technologies
Intended status: Standard R. Casellas, Ed. Intended status: Standard Track R. Casellas, Ed.
Expires: February 2017 Expires: February 2017 CTTC
CTTC
PCEP Extension for WSON Routing and Wavelength Assignment PCEP Extension for WSON Routing and Wavelength Assignment
draft-ietf-pce-wson-rwa-ext-05.txt draft-ietf-pce-wson-rwa-ext-06.txt
This document provides the Path Computation Element communication This document provides the Path Computation Element communication
Protocol (PCEP) extensions for the support of Routing and Wavelength Protocol (PCEP) extensions for the support of Routing and Wavelength
Assignment (RWA) in Wavelength Switched Optical Networks (WSON). Assignment (RWA) in Wavelength Switched Optical Networks (WSON).
Lightpath provisioning in WSONs requires a routing and wavelength Lightpath provisioning in WSONs requires a routing and wavelength
assignment (RWA) process. From a path computation perspective, assignment (RWA) process. From a path computation perspective,
wavelength assignment is the process of determining which wavelength wavelength assignment is the process of determining which wavelength
can be used on each hop of a path and forms an additional routing can be used on each hop of a path and forms an additional routing
skipping to change at page 2, line 7 ¶
Internet-Drafts are draft documents valid for a maximum of six Internet-Drafts are draft documents valid for a maximum of six
months and may be updated, replaced, or obsoleted by other documents months and may be updated, replaced, or obsoleted by other documents
at any time. It is inappropriate to use Internet-Drafts as at any time. It is inappropriate to use Internet-Drafts as
reference material or to cite them other than as "work in progress." reference material or to cite them other than as "work in progress."
The list of current Internet-Drafts can be accessed at The list of current Internet-Drafts can be accessed at
http://www.ietf.org/ietf/1id-abstracts.txt http://www.ietf.org/ietf/1id-abstracts.txt
The list of Internet-Draft Shadow Directories can be accessed at The list of Internet-Draft Shadow Directories can be accessed at
http://www.ietf.org/shadow.html. http://www.ietf.org/shadow.html.
This Internet-Draft will expire on February 15, 2017. This Internet-Draft will expire on February 16, 2017.
Copyright Notice Copyright Notice
Copyright (c) 2015 IETF Trust and the persons identified as the Copyright (c) 2016 IETF Trust and the persons identified as the
document authors. All rights reserved. document authors. All rights reserved.
This document is subject to BCP 78 and the IETF Trust's Legal This document is subject to BCP 78 and the IETF Trust's Legal
Provisions Relating to IETF Documents Provisions Relating to IETF Documents
(http://trustee.ietf.org/license-info) in effect on the date of (http://trustee.ietf.org/license-info) in effect on the date of
publication of this document. Please review these documents publication of this document. Please review these documents
carefully, as they describe your rights and restrictions with carefully, as they describe your rights and restrictions with
respect to this document. Code Components extracted from this respect to this document. Code Components extracted from this
document must include Simplified BSD License text as described in document must include Simplified BSD License text as described in
Section 4.e of the Trust Legal Provisions and are provided without Section 4.e of the Trust Legal Provisions and are provided without
skipping to change at page 2, line 33 ¶
1. Terminology....................................................3 1. Terminology....................................................3
2. Requirements Language..........................................3 2. Requirements Language..........................................3
3. Introduction...................................................3 3. Introduction...................................................3
4. Encoding of a RWA Path Request.................................6 4. Encoding of a RWA Path Request.................................6
4.1. Wavelength Assignment (WA) Object.........................6 4.1. Wavelength Assignment (WA) Object.........................6
4.2. Wavelength Selection TLV..................................8 4.2. Wavelength Selection TLV..................................8
4.3. Wavelength Restriction Constraint TLV.....................8 4.3. Wavelength Restriction Constraint TLV.....................8
4.3.1. Link Identifier Field...............................10 4.3.1. Link Identifier Field...............................11
4.3.2. Wavelength Restriction Field........................12 4.3.2. Wavelength Restriction Field........................12
4.4. Signal processing capability restrictions................13 4.4. Signal processing capability restrictions................13
4.4.1. Signal Processing Exclusion XRO Sub-Object..........14 4.4.1. Signal Processing Exclusion XRO Sub-Object..........14
4.4.2. IRO sub-object: signal processing inclusion.........14 4.4.2. IRO sub-object: signal processing inclusion.........15
5. Encoding of a RWA Path Reply..................................15 5. Encoding of a RWA Path Reply..................................15
5.1. Error Indicator..........................................16 5.1. Error Indicator..........................................16
5.2. NO-PATH Indicator........................................17 5.2. NO-PATH Indicator........................................17
6. Manageability Considerations..................................17 6. Manageability Considerations..................................17
6.1. Control of Function and Policy...........................17 6.1. Control of Function and Policy...........................17
6.2. Information and Data Models, e.g. MIB module.............18 6.2. Information and Data Models, e.g. MIB module.............18
6.3. Liveness Detection and Monitoring........................18 6.3. Liveness Detection and Monitoring........................18
6.4. Verifying Correct Operation..............................18 6.4. Verifying Correct Operation..............................18
6.5. Requirements on Other Protocols and Functional Components18 6.5. Requirements on Other Protocols and Functional Components18
6.6. Impact on Network Operation..............................18 6.6. Impact on Network Operation..............................19
7. Security Considerations.......................................18 7. Security Considerations.......................................19
8. IANA Considerations...........................................19 8. IANA Considerations...........................................19
8.1. New PCEP Object..........................................19 8.1. New PCEP Object..........................................19
8.2. New PCEP TLV: Wavelength Selection TLV...................19 8.2. New PCEP TLV: Wavelength Selection TLV...................20
8.3. New PCEP TLV: Wavelength Restriction Constraint TLV......19 8.3. New PCEP TLV: Wavelength Restriction Constraint TLV......20
8.4. New PCEP TLV: Wavelength Allocation TLV..................20 8.4. New PCEP TLV: Wavelength Allocation TLV..................20
8.5. New PCEP TLV: Optical Interface Class List TLV...........20 8.5. New PCEP TLV: Optical Interface Class List TLV...........21
8.6. New PCEP TLV: Client Signal TLV..........................20 8.6. New PCEP TLV: Client Signal TLV..........................21
8.7. New No-Path Reasons......................................21 8.7. New No-Path Reasons......................................21
8.8. New Error-Types and Error-Values.........................21 8.8. New Error-Types and Error-Values.........................22
9. Acknowledgments...............................................22 9. Acknowledgments...............................................22
10. References...................................................22 10. References...................................................22
10.1. Informative References..................................22 10.1. Informative References..................................22
10.2. Normative References....................................23 10.2. Normative References....................................24
11. Contributors.................................................24 11. Contributors.................................................24
Authors' Addresses...............................................25 Authors' Addresses...............................................25
1. Terminology 1. Terminology
This document uses the terminology defined in [RFC4655], and This document uses the terminology defined in [RFC4655], and
[RFC5440]. [RFC5440].
2. Requirements Language 2. Requirements Language
The PCE communications Protocol (PCEP) is the communication protocol The PCE communications Protocol (PCEP) is the communication protocol
used between a PCC and a PCE, and may also be used between used between a PCC and a PCE, and may also be used between
cooperating PCEs. [RFC4657] sets out the common protocol cooperating PCEs. [RFC4657] sets out the common protocol
requirements for PCEP. Additional application-specific requirements requirements for PCEP. Additional application-specific requirements
for PCEP are deferred to separate documents. for PCEP are deferred to separate documents.
This document provides the PCEP extensions for the support of This document provides the PCEP extensions for the support of
Routing and Wavelength Assignment (RWA) in Wavelength Switched Routing and Wavelength Assignment (RWA) in Wavelength Switched
Optical Networks (WSON) based on the requirements specified in Optical Networks (WSON) based on the requirements specified in
[RFC7449]. [RFC6163] and [RFC7449].
WSON refers to WDM based optical networks in which switching is WSON refers to WDM based optical networks in which switching is
performed selectively based on the wavelength of an optical signal. performed selectively based on the wavelength of an optical signal.
In this document, it is assumed that wavelength converters require WSONs can be transparent or translucent. A transparent optical
electrical signal regeneration. Consequently, WSONs can be network is made up of optical devices that can switch but not
transparent (A transparent optical network is made up of optical convert from one wavelength to another, all within the optical
devices that can switch but not convert from one wavelength to domain. On the other hand, translucent networks include 3R
another, all within the optical domain) or translucent (3R regenerators that are sparsely placed. In this document, only
regenerators are sparsely placed in the network). wavelength converters that require electrical signal regeneration
are considered.
A LSC Label Switched Path (LSP) may span one or several transparent A Lambda Switch Capable (LSC) Label Switched Path (LSP) may span one
segments, which are delimited by 3R regenerators (typically with or several transparent segments, which are delimited by 3R
electronic regenerator and optional wavelength conversion). Each regenerators (typically with electronic regenerator and optional
transparent segment or path in WSON is referred to as an optical wavelength conversion). Each transparent segment or path in WSON is
path. An optical path may span multiple fiber links and the path referred to as an optical path. An optical path may span multiple
should be assigned the same wavelength for each link. In such case, fiber links and the path should be assigned the same wavelength for
the optical path is said to satisfy the wavelength-continuity each link. In such case, the optical path is said to satisfy the
constraint. Figure 1 illustrates the relationship between a LSC LSP wavelength-continuity constraint. Figure 1 illustrates the
and transparent segments (optical paths). relationship between a LSC LSP and transparent segments (optical
paths).
+---+ +-----+ +-----+ +-----+ +-----+ +---+ +-----+ +-----+ +-----+ +-----+
| |I1 | | | | | | I2| | | |I1 | | | | | | I2| |
| |o------| |-------[(3R) ]------| |--------o| | | |o------| |-------[(3R) ]------| |--------o| |
| | | | | | | | | | | | | | | | | | | |
[X LSC] [LSC LSC] [LSC LSC] [LSC X] SwCap (X LSC) (LSC LSC) (LSC LSC) (LSC X) SwCap
<-------> <-------> <-----> <-------> <-------> <-------> <-----> <------->
<-----------------------><----------------------> <-----------------------><---------------------->
Transparent Segment Transparent Segment Transparent Segment Transparent Segment
<-------------------------------------------------> <------------------------------------------------->
LSC LSP LSC LSP
Figure 1 Illustration of a LSC LSP and transparent segments Figure 1 Illustration of a LSC LSP and transparent segments
Note that two optical paths within a WSON LSP need not operate on Note that two optical paths within a WSON LSP do not need to operate
the same wavelength (due to the wavelength conversion capabilities). on the same wavelength (due to the wavelength conversion
Two optical paths that share a common fiber link cannot be assigned capabilities). Two optical paths that share a common fiber link
the same wavelength. To do otherwise would result in both signals cannot be assigned the same wavelength; Otherwise, both signals
interfering with each other. Note that advanced additional would interfere with each other. Note that advanced additional
multiplexing techniques such as polarization based multiplexing are multiplexing techniques such as polarization based multiplexing are
not addressed in this document since the physical layer aspects are not addressed in this document since the physical layer aspects are
not currently standardized. Therefore, assigning the proper not currently standardized. Therefore, assigning the proper
wavelength on a lightpath is an essential requirement in the optical wavelength on a lightpath is an essential requirement in the optical
path computation process. path computation process.
When a switching node has the ability to perform wavelength When a switching node has the ability to perform wavelength
conversion, the wavelength-continuity constraint can be relaxed, and conversion, the wavelength-continuity constraint can be relaxed, and
a LSC Label Switched Path (LSP) may use different wavelengths on a LSC Label Switched Path (LSP) may use different wavelengths on
different links along its route from origin to destination. It is, different links along its route from origin to destination. It is,
can be supported in a fiber is also limited. As a WSON can be can be supported in a fiber is also limited. As a WSON can be
composed of network nodes that cannot perform wavelength conversion, composed of network nodes that cannot perform wavelength conversion,
nodes with limited wavelength conversion, and nodes with full nodes with limited wavelength conversion, and nodes with full
wavelength conversion abilities, wavelength assignment is an wavelength conversion abilities, wavelength assignment is an
additional routing constraint to be considered in all lightpath additional routing constraint to be considered in all lightpath
computation. computation.
For example (see Figure 1), within a translucent WSON, a LSC LSP may For example (see Figure 1), within a translucent WSON, a LSC LSP may
be established between interfaces I1 and I2, spanning 2 transparent be established between interfaces I1 and I2, spanning 2 transparent
segments (optical paths) where the wavelength continuity constraint segments (optical paths) where the wavelength continuity constraint
applies (i.e. the same unique wavelength MUST be assigned to the LSP applies (i.e. the same unique wavelength must be assigned to the LSP
at each TE link of the segment). If the LSC LSP induced a Forwarding at each TE link of the segment). If the LSC LSP induced a Forwarding
Adjacency / TE link, the switching capabilities of the TE link would Adjacency / TE link, the switching capabilities of the TE link would
be [X X] where X < LSC (PSC, TDM, ...). be (X X) where X refers to the switching capability of I1 and I2.
For example, X can be PSC, TDM, etc.
This document aligns with GMPLS extensions for PCEP [PCEP-GMPLS] for This document aligns with GMPLS extensions for PCEP [PCEP-GMPLS] for
generic property such as label, label-set and label assignment generic property such as label, label-set and label assignment
noting that wavelength is a type of label. Wavelength restrictions noting that wavelength is a type of label. Wavelength restrictions
and constraints are also formulated in terms of labels per and constraints are also formulated in terms of labels per
The optical modulation properties, which are also referred to as The optical modulation properties, which are also referred to as
signal compatibility, are already considered in signaling in signal compatibility, are already considered in signaling in
[RFC7581] and [RFC7688]. In order to improve the signal quality and [RFC7581] and [RFC7688]. In order to improve the signal quality and
are used. Those modulation properties contribute not only to optical are used. Those modulation properties contribute not only to optical
signal quality checks but also constrain the selection of sender and signal quality checks but also constrain the selection of sender and
receiver, as they should have matching signal processing receiver, as they should have matching signal processing
capabilities. This document includes signal compatibility capabilities. This document includes signal compatibility
constraints as part of RWA path computation. That is, the signal constraints as part of RWA path computation. That is, the signal
processing capabilities (e.g., modulation and FEC) by the means of processing capabilities (e.g., modulation and FEC) by the means of
optical interface class (OIC) must be compatible between the sender optical interface class (OIC) must be compatible between the sender
and the receiver of the optical path across all optical elements. and the receiver of the optical path across all optical elements.
This document, however, does not address optical impairments as part This document, however, does not address optical impairments as part
of RWA path computation. See [WSON-Imp] and [RSVP-Imp] for more of RWA path computation. See [RFC6566] for more information on
information on optical impairments and GMPLS. optical impairments and GMPLS.
4. Encoding of a RWA Path Request 4. Encoding of a RWA Path Request
Figure 2 shows one typical PCE based implementation, which is Figure 2 shows one typical PCE based implementation, which is
referred to as the Combined Process (R&WA). With this architecture, referred to as the Combined Process (R&WA). With this architecture,
the two processes of routing and wavelength assignment are accessed the two processes of routing and wavelength assignment are accessed
via a single PCE. This architecture is the base architecture from via a single PCE. This architecture is the base architecture from
which the requirements have been specified in [RFC7449] and the PCEP which the requirements have been specified in [RFC7449] and the PCEP
extensions that are going to be specified in this document based on extensions that are going to be specified in this document based on
this architecture. this architecture.
<WA> <WA>
[other optional objects...] [other optional objects...]
If the WA object is present in the request, it MUST be encoded after If the WA object is present in the request, it MUST be encoded after
the ENDPOINTS object. the ENDPOINTS object.
The format of the Wavelength Assignment (WA) object body is as The format of the Wavelength Assignment (WA) object body is as
follows: follows:
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| Flags |M| | Reserved | Flags |M|
| Wavelength Selection TLV | | Wavelength Selection TLV |
| Wavelength Restriction Constraint TLV | | Wavelength Restriction Constraint TLV |
// Optional TLVs // // Optional TLVs //
Figure 3 WA Object Figure 3 WA Object
o Flags (32 bits) o Reserved (16 bits)
o Flags (16 bits)
The following new flags SHOULD be set The following new flags SHOULD be set
. M (Mode - 1 bit): M bit is used to indicate the mode of . M (Mode - 1 bit): M bit is used to indicate the mode of
wavelength assignment. When M bit is set to 1, this indicates wavelength assignment. When M bit is set to 1, this indicates
that the label assigned by the PCE must be explicit. That is, that the label assigned by the PCE must be explicit. That is,
the selected way to convey the allocated wavelength is by means the selected way to convey the allocated wavelength is by means
of Explicit Label Control (ELC) [RFC4003] for each hop of a of Explicit Label Control (ELC) [RFC4003] for each hop of a
computed LSP. Otherwise, the label assigned by the PCE needs computed LSP. Otherwise, the label assigned by the PCE needs
not be explicit (i.e., it can be suggested in the form of label not be explicit (i.e., it can be suggested in the form of label
WA. In such case, the PCE MUST return a Label Set Field as WA. In such case, the PCE MUST return a Label Set Field as
described in Section 2.6 of [RFC7579] in the response. See described in Section 2.6 of [RFC7579] in the response. See
Section 5 of this document for the encoding discussion of a Section 5 of this document for the encoding discussion of a
Label Set Field in a PCRep message. Label Set Field in a PCRep message.
4.2. Wavelength Selection TLV 4.2. Wavelength Selection TLV
The Wavelength Selection TLV is used to indicate the wavelength The Wavelength Selection TLV is used to indicate the wavelength
selection constraint in regard to the order of wavelength assignment selection constraint in regard to the order of wavelength assignment
to be returned by the PCE. This TLV is only applied when M bit is to be returned by the PCE. This TLV is only applied when M bit is
set to ''explicit'' in the WA Object specified in Section 4.1. set in the WA Object specified in Section 4.1. This TLV MUST NOT be
used when the M bit is cleared.
The encoding of this TLV is specified as the Wavelength Selection The encoding of this TLV is specified as the Wavelength Selection
Sub-TLV in Section 4.2.2 of [RFC7689]. Sub-TLV in Section 4.2.2 of [RFC7689].
4.3. Wavelength Restriction Constraint TLV 4.3. Wavelength Restriction Constraint TLV
For any request that contains a wavelength assignment, the requester For any request that contains a wavelength assignment, the requester
(PCC) MUST be able to specify a restriction on the wavelengths to be (PCC) MUST be able to specify a restriction on the wavelengths to be
used. This restriction is to be interpreted by the PCE as a used. This restriction is to be interpreted by the PCE as a
constraint on the tuning ability of the origination laser constraint on the tuning ability of the origination laser
skipping to change at page 11, line 35 ¶
skipping to change at page 12, line 4 ¶
| IPv6 address (continued) | | IPv6 address (continued) |
| IPv6 address (continued) | Prefix Length | | IPv6 address (continued) | Prefix Length |
Unnumbered Interface ID Sub-TLV Unnumbered Interface ID Sub-TLV
| Type = 3 | Reserved | | Type = 3 | Reserved |
| TE Node ID | | TE Node ID |
| Interface ID | | Interface ID |
4.3.2. Wavelength Restriction Field 4.3.2. Wavelength Restriction Field
The Wavelength Restriction Field of the wavelength restriction TLV The Wavelength Restriction Field of the wavelength restriction TLV
is encoded as a Label Set field as specified in [RFC7579] section is encoded as a Label Set field as specified in [RFC7579] section
2.6, as shown below, with base label encoded as a 32 bit LSC label, 2.6, as shown below, with base label encoded as a 32 bit LSC label,
defined in [RFC6205]. See [RFC6205] for a description of Grid, C.S, defined in [RFC6205]. See [RFC6205] for a description of Grid, C.S,
Identifier and n, as well as [RFC7579] for the details of each Identifier and n, as well as [RFC7579] for the details of each
action. action.
| Action| Num Labels | Length | | Action| Num Labels | Length |
|Grid | C.S | Identifier | n | |Grid | C.S | Identifier | n |
| Additional fields as necessary per action | | Additional fields as necessary per action |
Action: Action:
0 - Inclusive List 0 - Inclusive List
1 - Exclusive List 1 - Exclusive List
2 - Inclusive Range 2 - Inclusive Range
3 - Exclusive Range 3 - Exclusive Range
meaning depending on the action value. Num Labels is a 12 bit meaning depending on the action value. Num Labels is a 12 bit
integer. integer.
Length is the length in bytes of the entire label set field. Length is the length in bytes of the entire label set field.
See Sections 2.6.1 - 2.6.3 of [RFC7579] for details on additional See Sections 2.6.1 - 2.6.3 of [RFC7579] for details on additional
field discussion for each action. field discussion for each action.
4.4. Signal processing capability restrictions 4.4. Signal processing capability restrictions
Path computation for WSON include the check of signal processing Path computation for WSON includes the check of signal processing
capabilities, those capability MAY be provided by the IGP, however capabilities, those capability MAY be provided by the IGP. Moreover,
this is not a MUST. Moreover, a PCC should be able to indicate a PCC should be able to indicate additional restrictions for those
additional restrictions for those signal compatibility, either on signal compatibility, either on the endpoint or any given link.
the endpoint or any given link.
The supported signal processing capabilities are the one described The supported signal processing capabilities are the one described
in [RFC7446]: in [RFC7446]:
. Optical Interface Class List . Optical Interface Class List
. Bit Rate . Bit Rate
. Client Signal . Client Signal
|X| Type = X | Length | Reserved | Attribute | |X| Type = X | Length | Reserved | Attribute |
| sub-sub objects | | sub-sub objects |
Figure 5 Signaling Processing XRO Sub-Object Figure 5 Signaling Processing XRO Sub-Object
Refer to [RFC5521] for the definition of X, Type, Length and
The Attribute field indicates how the exclusion sub-object is to be The Attribute field indicates how the exclusion sub-object is to be
interpreted. The Attribute can only be 0 (Interface) or 1 (Node). interpreted. The Attribute can only be 0 (Interface) or 1 (Node).
The sub-sub objects are encoded as in RSVP signaling definition The sub-sub objects are encoded as in RSVP signaling definition
4.4.2. IRO sub-object: signal processing inclusion 4.4.2. IRO sub-object: signal processing inclusion
Similar to the XRO sub-object the PCC/PCE should be able to include Similar to the XRO sub-object the PCC/PCE should be able to include
particular types of signal processing along the path in order to particular types of signal processing along the path in order to
handle client restriction or multi-domain path computation. handle client restriction or multi-domain path computation.
This is supported by adding the sub-object ''processing'' defined for This is supported by adding the sub-object "processing" defined for
ERO in [RFC7689] to the PCEP IRO object. ERO in [RFC7689] to the PCEP IRO object.
5. Encoding of a RWA Path Reply 5. Encoding of a RWA Path Reply
This section provides the encoding of a RWA Path Reply for This section provides the encoding of a RWA Path Reply for
wavelength allocation as discussed in Section 4. Recall that wavelength allocation as discussed in Section 4. Recall that
wavelength allocation can be performed by the PCE by different wavelength allocation can be performed by the PCE by different
means: means:
(a) By means of Explicit Label Control (ELC) where the PCE (a) By means of Explicit Label Control (ELC) where the PCE
Option (b) allows distributed label allocation (performed during Option (b) allows distributed label allocation (performed during
signaling) to complete wavelength allocation. signaling) to complete wavelength allocation.
The Wavelength Allocation TLV type is TBD, recommended value is TBD. The Wavelength Allocation TLV type is TBD, recommended value is TBD.
The TLV data is defined as follows: The TLV data is defined as follows:
| Reserved |M| | Type | Length |M|
| Link Identifier | | Link Identifier |
| | | . . . |
| Allocated Wavelength(s) | | Allocated Wavelength(s) |
// . . . . // // . . . . //
Figure 6 Wavelength Allocation TLV Encoding Figure 6 Wavelength Allocation TLV Encoding
o Reserved: Reserved for future use (31 bits) o Type (16 bits): The type of the TLV.
o Length (15 bits): The length of the TLV including the Type and
Length fields.
o M (Mode): 1 bit o M (Mode): 1 bit
. 0 - - indicates the allocation is under Explicit Label Control. - 0 indicates the allocation is under Explicit Label Control.
. 1 - - indicates the allocation is expressed in Label Sets. - 1 indicates the allocation is expressed in Label Sets.
Note that all link identifiers in the same list must be of the same Note that all link identifiers in the same list must be of the same
type. type.
o Link Identifier (variable): Identifies the interface to which o Link Identifier (variable): Identifies the interface to which
assignment wavelength(s) is applied. See Section 4.2.1. for Link assignment wavelength(s) is applied. See Section 4.2.1. for Link
Identifier encoding. Identifier encoding.
o Assigned Wavelength(s) (variable): Indicates the assigned o Allocated Wavelength(s) (variable): Indicates the allocated
wavelength(s) to the link identifier. See Section 4.2.2 for encoding wavelength(s) to the link identifier. See Section 4.2.2 for encoding
details. details.
This TLV is encoded as an attributes TLV, per [RFC5420], which is This TLV is encoded as an attributes TLV, per [RFC5420], which is
carried in the ERO LSP Attribute Subobjects per [RSVP-RO]. The type carried in the ERO LSP Attribute Subobjects per [RFC7570]. The type
value of the Wavelength Restriction Constraint TLV is TBD by IANA. value of the Wavelength Restriction Constraint TLV is TBD by IANA.
5.1. Error Indicator 5.1. Error Indicator
To indicate errors associated with the RWA request, a new Error Type To indicate errors associated with the RWA request, a new Error Type
(TDB) and subsequent error-values are defined as follows for (TDB) and subsequent error-values are defined as follows for
inclusion in the PCEP-ERROR Object: inclusion in the PCEP-ERROR Object:
A new Error-Type (TDB) and subsequent error-values are defined as A new Error-Type (TDB) and subsequent error-values are defined as
cancelled at the PCC. cancelled at the PCC.
5.2. NO-PATH Indicator 5.2. NO-PATH Indicator
To communicate the reason(s) for not being able to find RWA for the To communicate the reason(s) for not being able to find RWA for the
path request, the NO-PATH object can be used in the corresponding path request, the NO-PATH object can be used in the corresponding
response. The format of the NO-PATH object body is defined in response. The format of the NO-PATH object body is defined in
[RFC5440]. The object may contain a NO-PATH-VECTOR TLV to provide [RFC5440]. The object may contain a NO-PATH-VECTOR TLV to provide
additional information about why a path computation has failed. additional information about why a path computation has failed.
One new bit flag are defined to be carried in the Flags field in the One new bit flag is defined to be carried in the Flags field in the
NO-PATH-VECTOR TLV carried in the NO-PATH Object. NO-PATH-VECTOR TLV carried in the NO-PATH Object.
. Bit TDB: When set, the PCE indicates no feasible route was . Bit TDB: When set, the PCE indicates no feasible route was
found that meets all the constraints (e.g., wavelength found that meets all the constraints (e.g., wavelength
restriction, signal compatibility, etc.) associated with RWA. restriction, signal compatibility, etc.) associated with RWA.
6. Manageability Considerations 6. Manageability Considerations
Manageability of WSON Routing and Wavelength Assignment (RWA) with Manageability of WSON Routing and Wavelength Assignment (RWA) with
PCE must address the following considerations: PCE must address the following considerations:
6.1. Control of Function and Policy 6.1. Control of Function and Policy
In addition to the parameters already listed in Section 8.1 of In addition to the parameters already listed in Section 8.1 of
[PCEP], a PCEP implementation SHOULD allow configuring the following [RFC5440], a PCEP implementation SHOULD allow configuring the
PCEP session parameters on a PCC: following PCEP session parameters on a PCC:
. The ability to send a WSON RWA request. . The ability to send a WSON RWA request.
PCEP session parameters on a PCE: following PCEP session parameters on a PCE:
. The support for WSON RWA. . The support for WSON RWA.
. A set of WSON RWA specific policies (authorized sender, . A set of WSON RWA specific policies (authorized sender,
request rate limiter, etc). request rate limiter, etc).
These parameters may be configured as default parameters for any These parameters may be configured as default parameters for any
PCEP session the PCEP speaker participates in, or may apply to a PCEP session the PCEP speaker participates in, or may apply to a
specific session with a given PCEP peer or a specific group of specific session with a given PCEP peer or a specific group of
sessions with a specific group of PCEP peers. sessions with a specific group of PCEP peers.
6.2. Information and Data Models, e.g. MIB module 6.2. Information and Data Models, e.g. MIB module
Extensions to the PCEP MIB module defined in [PCEP-MIB] should be Extensions to the PCEP MIB module defined in [RFC7420] should be
defined, so as to cover the WSON RWA information introduced in this defined, so as to cover the WSON RWA information introduced in this
document. A future revision of this document will list the document. A future revision of this document will list the
information that should be added to the MIB module. information that should be added to the MIB module.
6.3. Liveness Detection and Monitoring 6.3. Liveness Detection and Monitoring
Mechanisms defined in this document do not imply any new liveness Mechanisms defined in this document do not imply any new liveness
detection and monitoring requirements in addition to those already detection and monitoring requirements in addition to those already
listed in section 8.3 of [RFC5440]. listed in section 8.3 of [RFC5440].
6.6. Impact on Network Operation 6.6. Impact on Network Operation
Mechanisms defined in this document do not imply any new network Mechanisms defined in this document do not imply any new network
operation requirements in addition to those already listed in operation requirements in addition to those already listed in
section 8.6 of [RFC5440]. section 8.6 of [RFC5440].
7. Security Considerations 7. Security Considerations
This document has no requirement for a change to the security models This document has no requirement for a change to the security models
within PCEP [PCEP]. However the additional information distributed within PCEP . However the additional information distributed in
in order to address the RWA problem represents a disclosure of order to address the RWA problem represents a disclosure of network
network capabilities that an operator may wish to keep private. capabilities that an operator may wish to keep private.
Consideration should be given to securing this information. Consideration should be given to securing this information.
8. IANA Considerations 8. IANA Considerations
IANA maintains a registry of PCEP parameters. IANA has made IANA maintains a registry of PCEP parameters. IANA has made
allocations from the sub-registries as described in the following allocations from the sub-registries as described in the following
sections. sections.
8.1. New PCEP Object 8.1. New PCEP Object
As described in Section 4.1, a new PCEP Object is defined to carry As described in Section 4.1, a new PCEP Object is defined to carry
wavelength assignment related constraints. IANA is to allocate the wavelength assignment related constraints. IANA is to allocate the
following from ''PCEP Objects'' sub-registry following from "PCEP Objects" sub-registry
(http://www.iana.org/assignments/pcep/pcep.xhtml#pcep-objects): (http://www.iana.org/assignments/pcep/pcep.xhtml#pcep-objects):
Object Class Name Object Reference Object Class Name Object Reference
Value Type Value Type
--------------------------------------------------------- ---------------------------------------------------------
TDB WA 1: Wavelength-Assignment [This.I-D] TDB WA 1: Wavelength-Assignment [This.I-D]
8.2. New PCEP TLV: Wavelength Selection TLV 8.2. New PCEP TLV: Wavelength Selection TLV
(http://www.iana.org/assignments/pcep/pcep.xhtml#no-path-vector- (http://www.iana.org/assignments/pcep/pcep.xhtml#no-path-vector-
tlv). tlv).
Bit Description Reference Bit Description Reference
----------------------------------------------------- -----------------------------------------------------
TBD No RWA constraints met [This.I-D] TBD No RWA constraints met [This.I-D]
8.8. New Error-Types and Error-Values 8.8. New Error-Types and Error-Values
As described in Section 5.1, new PCEP error codes are defined for As described in Section 5.1, new PCEP error codes are defined for
WSON RWA errors. IANA is to allocate from the ''"PCEP-ERROR Object Error WSON RWA errors. IANA is to allocate from the ""PCEP-ERROR Object
Types and Values" sub-registry Error Types and Values" sub-registry
(http://www.iana.org/assignments/pcep/pcep.xhtml#pcep-error-object). (http://www.iana.org/assignments/pcep/pcep.xhtml#pcep-error-object).
Error- Meaning Error-Value Reference Error- Meaning Error-Value Reference
Type Type
--------------------------------------------------------------- ---------------------------------------------------------------
TDB WSON RWA Error 1: Insufficient [This.I-D] TDB WSON RWA Error 1: Insufficient [This.I-D]
2: RWA computation {This.I-D] 2: RWA computation {This.I-D]
This document was prepared using 2-Word-v2.0.template.dot. This document was prepared using 2-Word-v2.0.template.dot.
10. References 10. References
10.1. Informative References 10.1. Informative References
[RFC2119] Bradner, S., "Key words for use in RFCs to Indicate [RFC2119] Bradner, S., "Key words for use in RFCs to Indicate
Requirement Levels", BCP 14, RFC 2119, March 1997. Requirement Levels", BCP 14, RFC 2119, March 1997.
[RFC3471] Berger, L., "Generalized Multi-Protocol Label Switching [RFC2863] McCloghrie, K. and F. Kastenholz, "The Interfaces Group
(GMPLS) Signaling Functional Description", RFC 3471, MIB", RFC 2863, June 2000.
[RFC3473] Berger, L., Ed., "Generalized Multi-Protocol Label
Switching (GMPLS) Signaling Resource ReserVation Protocol-
Traffic Engineering (RSVP-TE) Extensions", RFC 3473,
[RFC3477] Kompella, K. and Y. Rekhter, "Signalling Unnumbered Links
in Resource ReSerVation Protocol - Traffic Engineering
(RSVP-TE)", RFC 3477, January 2003.
[RFC4003] Berger, L., "GMPLS Signaling Procedure for Egress Control", [RFC4003] Berger, L., "GMPLS Signaling Procedure for Egress Control",
RFC 4003, February 2005. RFC 4003, February 2005.
[RFC4655] Farrel, A., Vasseur, J., and J. Ash, "A Path Computation [RFC4655] Farrel, A., Vasseur, J., and J. Ash, "A Path Computation
Element (PCE)-Based Architecture", RFC 4655, August 2006. Element (PCE)-Based Architecture", RFC 4655, August 2006.
[RFC4657] Ash, J. and J. Le Roux, "Path Computation Element (PCE) [RFC4657] Ash, J. and J. Le Roux, "Path Computation Element (PCE)
Communication Protocol Generic Requirements", RFC 4657, Communication Protocol Generic Requirements", RFC 4657,
September 2006. September 2006.
[RFC5440] Vasseur, JP., Ed. and JL. Le Roux, Ed., "Path Computation [RFC5440] Vasseur, JP., Ed. and JL. Le Roux, Ed., "Path Computation
Element (PCE) communication Protocol", RFC 5440, March Element (PCE) communication Protocol", RFC 5440, March
2009. 2009.
10.2. Normative References [RFC5088] Le Roux, JL, JP. Vasseur, Y. Ikejiri, and R. Zhang, "OSPF
Protocol Extensions for Path Computation Element (PCE)
[PCEP-GMPLS] Margaria, et al., ''PCEP extensions for GMPLS'', draft- Discovery," RFC 5088, January 2008.
ietf-pce-gmpls-pcep-extensions, work in progress.
[RFC7570] Margaria, et al., ''Label Switched Path (LSP) Attribute in
the Explicit Route Object (ERO)'', RFC 7570, July 2015.
[PCEP-Layer] Oki, Takeda, Le Roux, and Farrel, ''Extensions to the [RFC5089] Le Roux, JL, JP. Vasseur, Y. Ikejiri, and R. Zhang, "IS-IS
Path Computation Element communication Protocol (PCEP) for Protocol Extensions for Path Computation Element (PCE)
Inter-Layer MPLS and GMPLS Traffic Engineering'', draft- Discovery," RFC 5089, January 2008.
ietf-pce-inter-layer-ext, work in progress.
[RFC6163] Lee, Y. and Bernstein, G. (Editors), and W. Imajuku, [RFC6163] Lee, Y. and Bernstein, G. (Editors), and W. Imajuku,
"Framework for GMPLS and PCE Control of Wavelength "Framework for GMPLS and PCE Control of Wavelength
Switched Optical Networks", RFC 6163, March 2011. Switched Optical Networks", RFC 6163, March 2011.
[RFC6566] Y. Lee, G. Bernstein, D. Li, G. Martinelli, "A Framework
for the Control of Wavelength Switched Optical Networks
(WSON) with Impairments", RFC 6566, March 2012.
[RFC7420] Koushik, A., E. Stephan, Q. Zhao, D. King, and J.
Hardwick, "Path Computation Element Communication Protocol
(PCEP) Management Information Base (MIB) Module", RFC
7420, December 2014.
[RFC7446] Y. Lee, G. Bernstein. (Editors), "Routing and Wavelength
Assignment Information Model for Wavelength Switched
Optical Networks", RFC 7446, February 2015.
[RFC7449] Lee, Y., et. al., "PCEP Requirements for WSON Routing and [RFC7449] Lee, Y., et. al., "PCEP Requirements for WSON Routing and
Wavelength Assignment", RFC 7449, February 2015. Wavelength Assignment", RFC 7449, February 2015.
[PCEP-GMPLS] Margaria, et al., "PCEP extensions for GMPLS", draft-
[RFC5420] Farrel, A. "Encoding of Attributes for MPLS LSP
Establishment Using Resource Reservation Protocol Traffic
Engineering (RSVP-TE)", RFC5420, February 2009.
[RFC5521] Oki, E, T. Takeda, and A. Farrel, "Extensions to the Path
Computation Element Communication Protocol (PCEP) for
Route Exclusions", RFC 5521, April 2009.
[RFC6205] Tomohiro, O. and D. Li, "Generalized Labels for Lambda- [RFC6205] Tomohiro, O. and D. Li, "Generalized Labels for Lambda-
Switching Capable Label Switching Routers", RFC 6205, Switching Capable Label Switching Routers", RFC 6205,
January, 2011. January, 2011.
[RFC7689] Bernstein et al, ''Signaling Extensions for Wavelength [RFC7570] Margaria, et al., "Label Switched Path (LSP) Attribute in
Switched Optical Networks'', RFC 7689, November 2015. the Explicit Route Object (ERO)", RFC 7570, July 2015.
[RFC7688] Y. Lee, and G. Bernstein, ''OSPF Enhancement for Signal and [RFC7689] Bernstein et al, "Signaling Extensions for Wavelength
Network Element Compatibility for Wavelength Switched Switched Optical Networks", RFC 7689, November 2015.
Optical Networks'', RFC 7688, November 2015.
[RFC7446] Y. Lee, G. Bernstein. (Editors), ''Routing and Wavelength [RFC7688] Y. Lee, and G. Bernstein, "OSPF Enhancement for Signal and
Assignment Information Model for Wavelength Switched Network Element Compatibility for Wavelength Switched
Optical Networks'', RFC 7446, February 2015. Optical Networks", RFC 7688, November 2015.
[RFC7581] Bernstein and Lee, ''Routing and Wavelength Assignment [RFC7581] Bernstein and Lee, "Routing and Wavelength Assignment
Information Encoding for Wavelength Switched Optical Information Encoding for Wavelength Switched Optical
Networks'', RFC7581, June 2015. Networks", RFC7581, June 2015.
[RFC7579] Bernstein and Lee, ''General Network Element Constraint [RFC7579] Bernstein and Lee, "General Network Element Constraint
Encoding for GMPLS Controlled Networks'', RFC 7579, June Encoding for GMPLS Controlled Networks", RFC 7579, June
[WSON-Imp] Y. Lee, G. Bernstein, D. Li, G. Martinelli, "A Framework
(WSON) with Impairments", draft-ietf-ccamp-wson-
impairments, work in progress.
[RSVP-Imp] agraz, ''RSVP-TE Extensions in Support of Impairment Aware
Routing and Wavelength Assignment in Wavelength Switched
Optical Networks WSONs)'', draft-agraz-ccamp-wson-
impairment-rsvp, work in progress.
[OSPF-Imp] Bellagamba, et al., ''OSPF Extensions for Wavelength
Switched Optical Networks (WSON) with Impairments'',draft-
eb-ccamp-ospf-wson-impairments, work in progress.
11. Contributors 11. Contributors
Authors' Addresses Authors' Addresses
Young Lee, Editor Young Lee, Editor
Huawei Technologies Huawei Technologies
1700 Alma Drive, Suite 100 1700 Alma Drive, Suite 100
Plano, TX 75075, USA Plano, TX 75075, USA
Phone: (972) 509-5599 (x2240) Phone: (972) 509-5599 (x2240)
Email: leeyoung@huawei.com Email: leeyoung@huawei.com
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Anthony Pettit – Bermuda Fine Art, Antique Maps, Books, Prints and Ephemera
Prints, Engravings,Carvings and Lithographs
Sketches, Watercolours
and Oil Painting
Boer War Memorabilia
First World War German
Prisoner of War Memorabili
Postcard Ephemera
and Photographs
Antique Bermuda Flasks
and Bottles
Sketches, Watercolours and Oil Paintings
VIEWING AND PRICES ON REQUEST
It is worth noting that besides those shown, the Gallery has other Bermuda
works for sale, many marked quite modestly.
Please ask to see the Collection
Andrews, J. Winthrop . Garden Cottage with Flowers. Oil on canvas. c1915 16 x 20 inches.
J.Winthrop Andrews (American, born 1879. Born in Newtownville, Mass.lived in Chicopee, Mass. and later in Yonkers, N Y. An Ameriacn Impressionist, Andrews worked in Bermuda from about 1910 and his paintings display a colourful palette in light-filled compositions.
Andrews, J Winthrop. Oleander on a Sunlit Path. oil on canvas. 15 x 11 inches. 1910
View Document Text
An Amazing Autograph Bounty Document from an American Naval Privateer destined ultimately for Bermuda’s rock. The Sailing Ship 'Caesar', Rhode Island, May 25th 1744. Single Sheet. 17 x 13 1/2 inches. Minor soiling. Slight paper loss at folds. Otherwise very good. Matted.
A remarkable document, the agreement between the crew of the fourteen gun brig Caesar, a privateer sailing out of Rhode Island under the command of Captain John Griffith and two Rhode Island merchants, Philip Wilkinson and Daniel Ayrault Jr, on how the spoils will be divided from a successful privateering voyage during the War of Jenkins’ Ear. It calls for the merchants, acting as prize agents, to dispose of the captured Spanish privateer, Santissima Trinidad las Almas de Puratorio y San Antonia de Padua, and to pay each member of the Caesar’s crew a bounty of 5 pounds sterling – a sizeable sum in those days – for the capture of the enemy ship. The document is sogned by each of the Caesar’s officers and crew, thirty – nine signatures or marks with red seals in all.
The Caesar operated as a privateer under the authority of the British Royal Navy, harassing Spanish shipping during the War of Jenkin’s Ear (1739 – 42). It was during that period that the Caesar captured the Santissima Trinidad. In 1742 France allied itself with Spain against Great Britain in the war of the Austrian Succession (called King George’s War), and the Caesar continued its privateering activities, being sent to lay siege to the French fortress of Louisbourg on Cape Breton Island. The Caesar was involved in several engagements with French ships and transported French prisoners after the fall of Louisbourg.
While still in the employ of Wilkinson and Ayrault, Capt Griffith was instructed to call in at Bermuda in early 1746. This is when disaster overcame the ship. Arriving in early evening the Caesar called for a pilot while cruising about three or four leagues off the south west of the island. This is according to the Book of Deeds, Bills, Bonds and Protests (Vol 2 Book 10.1 p 160). and the Book of Protests Vol Two, both of which have copies in the Bermuda Archives and the National Museum of Bermuda.
From an original protest made by Capt. Griffith and his officers and under the chairmanship of Francis Jones Esq, President, Commander in Chief and Vice Admiral of Bermuda, at 7 am the following morning in expectation of the pilot’s arrival Griffith sent his first lieutenant to the masthead to see if there was any danger of running aground on the coral. The officer saw none, but just to be on the safe side the captain tried to move further away from the reef. His evasive action was not effective. He let go an anchor, by which time an offshore wind had started to rise. The adverse winds increased steadily all day to gale force strength. The Caesar fired her guns to try to rouse the pilot. Apparently he was all the way over in St David’s and a relief was promised. Still the danger increased. The Caesar’s Main Top yard was lowered, preparations were made to put the guns from the deck down into the hold so that there would be more room to raise sail to get out from the shoals. Then the anchor cable parted.The Caesar drove herself onto the coral, losing her rudder. By this time there was five feet of water in the holds. Despite cutting away both masts and manning the bilges the Caesar went to the bottom. The relief pilot arrived about 4 pm and was able to help the Captain and crew scramble ashore. This was accomplished with great difficulty..
Consequently in court Griffith and the officers made a vigorous protest over the pilot’s delayed arrival and the subsequent disaster which unfolded.
Actual documentation of dividing the spoils from a privateering voyage is seldom seen. The present document is large, dramatic and displayable.
Axelrod, M . The Pond, St Georges. framed watercolour. 1944. 10 x 14 1/4 inches.
M Axelrod. The Pond, St Georges. Though painted in 1944, a year after the Work Progress Administration (WPA) programme in the United States finished, this little watercolour has the feel of this period. From 1935 the WPA provided employment for up to eight million people including painters and writers to alleviate the effects of the Great Depression. Created by F D Roosevelt the participant could work no more than thirty hours a week, but at least it gave them a regular income
Baily, Earl . (Canadian 1903 - 1977) Oil Painting. Hamilton Harbour, Bermuda. 16 x 29 1/2 inches.
Date unknown. This Canadian artist, crippled by polio at an early age, painted with his mouth. For some time he had a gallery in Bailey's Bay.
Beresford, Charles F.C. (British 1844 - 1925) Admiralty House and Garden. Circa 1870. Watercolour 13 x 9 inches.
He was stationed in Bermuda in the 1870s and organized Lefroy’s Industrial and Loan Exhibition in 1872. A fine portfolio of many of the artist’s works is available from the National Trust. However this picture of Admiralty House and Grounds is not among them. Of interest in the painting are the well worked quarries in the foreground and the ladies of colour at work in the gardens to the left. Beresford clearly signs his name at the base, centre right.
Bicknell, Evelyn M. Bermuda Lane with Houses. Circa 1910 Watercolour 12 x 17inches. Signed lower left.
Evelyn Montague Bicknell (American, 1857 - 1931). Bicknell was a prolific watercolorist who worked in Bermuda from about 1900 onward. He exhibited his work extensively at the New York Watercolor Club, the Salmagundi Club and the American Watercolor Society. Most,but not all, of the subjects depicted the South Shore of Bermuda. He seemed to be intrigued by the limestone formations along this coast, although sometimes painted houses and gardens and motifs like the cove with boat appears. These bear resemblence in simplicity to Winslow Homer's watercolours.
Bicknell, Evelyn M. Beach Dunes. watercolour. c1905. 12 x 17 inches.
Bicknell, Evelyn M. Sailing Ships. watercolour framed. image size 7 x 13 inches
Bicknell, Evelyn M. St. Georges Alley. watercolour. image size 16 x 12 inches.
Bicknell, Evelyn M. St. Georges Street with Two Figures. watercolour. image size 12 x 17 inches. c1905.
Bicknell, Evelyn M. Fallen Boulder, Bermuda. watercolour. 14 x 20 inches. c1905.
Bicknell, Evelyn M. Admiralty. c 1905 - 1910. watercolour. 29 x 42 cms.
This cave at Admiralty through which one can get a clear view of Spanish Point and Dockyard has been the subject of studies by many notable artists.
Birren, Joseph Pierre. Framed oil on canvas entitled The Old Gateway, Bermuda. c1915. 16 x 20 inches. Another fine listed artist.
Joseph Pierre Birren (American, born 1864 - died 1933). Birren was a Chicago commercial artist, he visited Bermuda after the First World War and his work was used by the Trade Development Board for their pamphlets. There are views of his available depicting St Georges. However this one is of crumbling buildings on Castle Island as a contemporary photograph corroborates.artist who worked extensively in Bermuda and lived there for a part of his life. His paintings are distinctly Impressionist and reflect his travels around the world. He was a wealthy illustrator who retired at an early age to focus almost exclusively on his artwork, captured in a sure, rapid hand.
Black, Arnold C. (American, 20th century). Lady Cyclist resting at La Garza, Paget Rd. watercolour. 1946. 10 x 14 inches.
He was known for his marine and landscape paintings. He is listed on all the major art sites.
Black, Norman Irving (1883-1953). Cedars. c1910. Oil on canvas mounted board. 52 x 41.5cms.
An impressionist work of the juniper tree which Bermudians call cedar. Though Black lived in Maine and studied in Paris, he wintered in Bermuda. His works figure prominently in the Masterworks book. Artist signed faintly lower left.
Norman I Black (American, 1883 - 1953). Born in Chelsea, Mass., he lived in Paget, Bermuda where he wintered as well as Casco Bay, Maine. His paintings of Bermuda have a buttery application of the paint and are often characterized by a softer tonality, mostly depicting the architecture of Bermuda and its unique gateway and entryways.
Black, Norman Irving (1883-1953). Woman and Donkey, St. Georges. c1917. Oil on board. 19 x 29inches.
Though Black lived in Maine and studied in Paris, he wintered in Bermuda. His works figure prominently in the Masterworks book. Artist clearly signed Nornan I Black, Bermuda 1917 on the bottom right.
Blanchard, F.L. (probably British). Ship Passing Dockyard. watercolour. 1913. 25 x 35 cms.
This well executed painting reflects in interesting period in the life of Dockyard. The fleet of tall sailing ships is making for the Long Arm. However the three masted vessel in the foreground is a real hybrid of sail and steam, having the lines of an expensive private yacht. perhaps the Admiral is being entertained.
Blaney, Dwight (1865 - 1844). The White House. watercolour. c1895. 19 1/2 x 13 1/2 inches.
This Boston artist, a friend of John Singer Sargent and brother-in-law of Ross Turner came to Bermuda many times and painted magnificent works, mostly as this one in watercolour. The White House, believed to be in Fairylands, is surely among his most memorable. The subtle changes of delicate colour in the approach to the residence particularly stand out’
Broemel, Carl William (American 1891 - 1984) Cleaning the Catch. Watercolour on board. 15 x 22 inches. Signed C W Broemel lower right.
Partial label on reverse reads 'Bermuda 1925' in artist's own hand. This is also signed. Broemel, a well respected Cleveland, Ohio painted in Bermuda 1923-5 and 1930. The result was displayed in St Georges in 1923 and 1930. Much lauded in the recent memorable David L White 'Cross Currents' Impressions of Bermuda exhibition at the National Gallery.
Broemel, Carl William (American 1891 - 1984) St. Georges Harbour. Watercolour. 8 x 10 inches.
Brown, Clinton. (? - 1954) Bermuda Farmhouse.
Dated 1939, this framed oil painting includes an interesting study in cloud formation in which the artist makes the sky appear like an extension of the sea. 40 x 32cms. Brown, in later years Michael Clinton, died in New York where he had spent much of his adulthood. In New york he was known as a portrait painter, but he was noted also for small landscapes and seascapes, private houses and gardens. He particularly liked the quality of the light in Bermuda and the Bahamas.
Buchterkirch, Armin 1859 - 1915 (American). Street Scene, Bermuda Ca 1900. Watercolour and gouache on paper. 5 x 7inches. Signed lower right
Carson, Frank. The Open Red Gate, Holy Trinity Church, Baileys Bay, Bermuda. Watercolour. circa 1925.
Its dimensions are 11 1/2 x 11 1/2 inches. It is signed with the artist's name lower right.
Frank Carson (American, 1881 - 1968). He was a Provincetown, Mass. artist who favoured a modern composition and brightly coloured, vigorously executed subject. He first went to Bermuda around 1932 and thereafter travelled there frequently, particularly in the winter. Other Provincetown artists such as Charles Webster Hawthorne and Henrietta Dunn Mears followed his example
Chapman, Charles Shepard (American 1879 - 1962). Horse and Rider, Bermuda, 1906. Oil on artist's board. 12 x 9 inches. Signed and dated lower left. Original moulding, under glass
This painter came just once to Bermuda in 1906, at the beginning of his career, with Frederick Sackrider Remington (1861 - 1909), a renowned Western artist and sculptor.
Apparently Chapman was unsure as to what path to take in art and it appears that it was as a result of showing Remington this oil while they were in Bermuda that the latter advised him to follow his heart using this medium amongst others. He became a notable photographer also.
The scene seems to be Old Maid's Lane, St Georges looking towards the harbour, but before additional buildings were erected which largely block the view.
Chetcuti, J. (Maltese 1900 - 1976). Cottage with Blue Gate. Watercolour. 6 x 8 inches.
A member of the the American Watercolour society, the Audubon, the Rock Port Art Association and the North Shore Art Association.
Chetcuti, J. (Maltese 1900 - 1976). Foot of the Lane. Watercolour. 6 x 8 inches.
Chetcuti, J. (Maltese 1900 - 1976). Entrance to Foot of the Lane. Watercolour. 6 x 8 inches.
Cimiotti, Gustave. (American 1875 - 1969). The Pink House and Beach, Bermuda. ca 1920s. Oil on canvas, mounted on board, 16 x 20 inches. Signed lower left. Titled and numbered on the verso, in the artist's hand. Original condition. Original moulding.
Clarke, Vernon. Broken Steps, Somerset. circa 2009. Pen and Ink. 29 1/2 x 19 1/2 inches.
Daintrey, Adrian. (1902- 1988). Summer Garden, Bermuda. Oil on canvas board. 45 x 35cm.
Elected a member of the Royal West of England Academy in 1963, that museum holds four of his works in their permanent collection. A painter and draftsman, Daintrey was a product of the Slade School of Art
Drury, W H 'A Hit' from HMS Carson, Bermuda. Beautifully framed oil. 1930 11 1/2 x 15 inches
William H Drury (American 1888 - 1960). A Princeton R I artist. Born in Massachusetts, he studied in Boston with Edmund Carvell and with Charles Woodbury in Ogunquist, Maine. His subject of target practice from a warship at the marine firing ranges in Bermuda is certainly unusual.
Ebert, Charles. Church Street looking West. fine framed oil by a most important listed artist c1925. 16 x 11 1/2 inches.
Charles Ebert (American, 1873 - 1959). Born in Milwaukee, Wis. he died at Old Lyme, the home of the famous painters school. A well respected highly collectible artist, he visited Bermuda from 1919 in the course of his extensive travels. As an Impressionist he liked plein air work showing colour and quick execution of subject. This oil for sale is a real iconic image of past Bermuda.
Endres, Helen. View over St Georges Harbour. framed oil. c1920 in hand carved incised frame. image size 14 x 18 inches
Ferry, Isabelle. (1865-1937). Bermuda Scene. Watercolour. c1930. Unsigned. image size 10 1/2 x 14 inches.
A well known Massachusetts artist. Highly regarded.
Gaertner, Carl F (American 1898 - 1925). Lengthening Shadows Ordnance Island, Bermuda. Titled and signed verso, c 1925. Oil on canvas board 11 x 14 inches
This artist makes a great study of light and shadow, employing techniques derived from his working among working class subjects in industrial Pennsylvania.
Gaertner, an important American painter, was just achieving national acclaim at the time of his early death aged 54. A teacher at the Cleveland School of Art, he developed a gritty realistic style and was much exhibited.
Gascoigne, Capt. St. Georges, Bermuda. Circular.
Gasser, Henry Martin (American, 1909 - 1981). Bermuda Vista Framed watercolour, 1970. 7 1/2 x 9 1/2 inches
While he stressed that paintable subjects could be created from material at home in the USA, he found trips abroad to be very stimulating. When travelling, as in this scene in Bermuda, he concentrated on recording colour impressions of the country. His philosophy was that if time abroad was limited, he could capture vital first impressions and then crystalize these ideas with detailed studies later.
Goodman, Marshall. (American Painter 1916 – 2003) The view is of Queen Street looking up from Heyl’s Corner. Watercolour sketch of Bermuda c1946. 15 x 24.5 inches
Heyl’s Drug Store is on the left, Whitter’s Jewelers followed by Cox and Wilson, then the present day Perot Post Office. On the right is the Cigar Store where Goslings is now. No cars of course but bicycles going in every direction and a little Bird Cage with an umbrella.
Mr Goodman , a graduate of the Rhode Island School of Design, had painted murals in the US Navy Officer Club at the top of Queen Street during the war. Now immediately post war he had ideas of painting major art works in oils of Bermuda scenes. This sketch was one of his first preliminaries into this field.
Gray, Bessie. (1854 – 1925) Bermuda Cottage. Watercolour. circa 1910. 8 x 9 1/2 inches
A poet and very accomplished artist, her paintings have been widely collected locally and overseas. She even reached the British Empire Exhibition in London in 1925.
Hagen, Alice Mary. Bermuda Farmhouse. oil on canvas. 10 x 17 inches. 1920s.
Alice Mary Hagen. (Canadian, 1872 - after 1956). Born in Halifax, N S, she was skilled in oils and watercolours. She also excelled in ceramics and organized a pottery industry in Canada, working with the world famous potter Alsop Robineau from Upstate, New York. Ms Hagen visited Bermuda in 1920.
Hawthorne, Charles Webster. Noonday, Bermuda. watercolour. 14 x 20 inches. c1923.
Charles Webster Hawthorne (American, 1872 - 1930). Born in Illinois, he grew up in Maine and died in Baltimore, Maryland. He worked with William Merritt Chase in oils and watercolours. A naturalist painter, his impressionist style catches the essence of the subject he has chosen. The result was multiple awards won from exhibitions shown all over the world. This present study 'Noonday, Bermuda' is a companion to 'Early Morning, Bermuda' painted about 1928 and in the Masterworks collection see p133 of theThe Masterworks Bermudiana Collection by Patricia Calnan . Hawthorne rented a house on the Paget shore and worked from there.
Harvey, George. Bermuda Group at Cottage. watercolour. 9 1/2 x 7 inches. c1875.
George Harvey (American, 1800 - 1878). GEORGE HARVEY (1800 – 1878) A Gifted British Artist from Tottenham in London who was fascinated by the sudden changes in weather atmospherics in American and (latterly) Bermudian scenery that he witnessed. He travelled to the New World many times in his life and carefully recorded the beauty of the flora and natural phenomena that he saw there. In the case of Bermuda his visit in 1875 was made at a time when change was in the air on the islands. He depicts a future of prosperity for the inhabitants, particularly those of colour, as some of his nearly thirty vignettes drawn locally show.
N.B. Harvey was a British rather than American national.
Harvey, George. Gibbs Hill Lighthouse, Bermuda. watercolour. 9 x 7 inches. c1875.
Harvey, George. Women at the Turnstyle. watercolour. 9 1/2 x 6 1/2 inches. c1875.
Hoffman, Harry Leslie. View of Castle Island. c1930. Signed and framed. Image size 19x25cms. Oil on board.
Prominent in the Old Lyme School, this artist came to Bermuda in 1929. He painted a number of oils in rich dramatic colours, such as this one. His subjects were often of the sea in the Castle Harbour and St Georges area where his friend and mentor William Beebe dived in the bathysphere.
HMS Cadmus. English School watercolour. 1860's.30 x 17cm.
H M S Cadmus quarantined on Ports Island because of Yellow Fever. The Bermuda Hospital (Naval Hospital) started on land in medical tents and hulks in St Georges beginning in 1794. By the 1820s it was based in Dockyard but islands like Ports were used to isolate the specific infections that Bermuda endured both locally and from sailors, army personnel and convicts arriving from abroad.
Jones, Bertha E. A Prosperous Fishing Cottage with Drying Nets. watercolour. circa 1893. 13 x 9 inches.
Kirkpatrick, Donald M. Bermuda Home with Anchor. watercolour. c.1933 17 x 12 inches.
Donald Morris Kirkpatrick (American/Bermudian, 1887 - 1964). He came to work in these islands from his native Pennsylvania in the 1920s as an employey of the architectural firm Onions and Bouchard. An important artist, Kirkpatrick became a founding member of the Bermuda Society of Arts in 1956 and was equally proficient in all mediums including oils, watercolours, drawing, etchings and lithography. Among his other skills were as an architect and a teacher. Much travelled he was able to get depth and grit into the subjects he expressed. His works are consequently highly regarded.
Kirkpatrick, Donald M. Bermuda Hurricane approaching Crawl. watercolour. 1930's 20 1/2 x 14 inches.
Kirkpatrick, Donald M. Bermuda Carrying the Pail. watercolour. 1933. 19 x 13 inches.
Kirkpatrick, Donald M. The Fruit Sellers. original etching. 14 1/2 x 10 inches. 1930s
Kirkpatrick, Donald M. The Card Game. original etching. signed. 12 x 8 1/2inches. 1930s
Kirkpatrick, Donald M. The Shadow of the Night. Under the Stars. original etching. 13 3/4 x 10 inches. 1930's
Kirkpatrick, Donald M. Bermuda Palm at the height of Summer. original etching. 16 x 10 3/4 inches 1930s
Lefroy Family. Emily Lefroy. View West from Government House. Framed watercolour. 1874. 6 x 10 1/2 inches.
This painting from the Lefroy Collection of watercolours (1871 - 1877) is by Emily Mary Lefroy, daughter of Governor Sir J H Lefroy. It depicts the scene c 1874 from the old Government House at Mt Langton looking westward towards Dockyard. Watercolour conserved and mounted to archival standards.
Lefroy Family. Charles Trench. Painter's Vale Cave. framed watercolour. 9 3/4 x 7 inches. 1876.
This painting from the Lefroy Collection of watercolours (1871 - 1877) is by Capt Charles Chenevix Trench RA, husband of Emily Mary Lefroy, daughter of Governor Lefroy. It depicts the cave at Paynters Vale in Hamilton Parish. Watercolour on paper. Painting conserved and mounted to archival standards.
Lefroy Family. Charles Trench. Bermuda Still Life Plovers. framed oval watercolour. 8 1/4 x 12 inches. 1874.
This painting from the Lefroy Collection of watercolours (1871 - 1877) is by Capt Charles Chenevix Trench RA, husband of Emily Mary Lefroy, daughter of Governor Lefroy. It depicts the bird asleep in a curious position. c 1874. Watercolour on paper. Conserved and mounted to archival standards
Lefroy Family. Charles Trench. Daughter Maude at Bathing Place, Mt Langton. framed watercolour. 6 3/4 x 8 inches. 1876.
This painting from the Lefroy Collection of watercolours (1871 - 1877) is by Capt Charles Chenevix Trench RA, husband of Emily Mary Lefroy, daughter of Governor Lefroy. It depicts the North Shore bathing place near Government House of their daughter Maude in 1876. Watercolour on paper. Painting conserved and mounted to archival standards.
Lefroy Family. Mount Langton from the Drawing Room. pencil sketch. c1876. 5 x 8 inches.
Lord, Dennis (Listed British Artist 1926-2003) St. Davids Lighthouse. watercolour. 9 1/2 x 13 inches. Undated, about year 2000.
Mr. Lord had a number of successful exhibitions in Bermuda.
Loring, G F. Bermuda.1909. Watercolour dimensions 24 x 39 cms.
Loring is unknown to us but the sureness of his painting indicates the possible hand of an architect. The wall, long since demolished, may indicate a hill in Smiths Parish.
View MacKnight, Dodge (American 1860 - 1950). View of Dockyard and the Land the East. c.1911. 15 1/2 x 22 inches. Watercolour. The third in a series of colourful paintings of the West End. Masterworks
has the Lantana piece and the other two are listed here.
MacKnight was a friend and colleague of John Singer Sargent, Winslow Homer and Ambrose Webster, America's other preeminent watercolorists, with whom he exhibited.
View MacKnight, Dodge (American 1860 - 1950). View of Watford Bridge, Bermuda c.1911. 17 x 23 inches Watercolour on paper. White frame custom made by the artist
Maclean, A. The Way to the Beach, St Georges. framed oil.. 1928. dimensions 40 x 54 cms.
This artist inscribed his work with the words above. However the scene closely resembles Thread and Needle Street, St Georges with its typical roofs and chimneys. Notice the abundance of flowers draped over walls. Just what a visitor would admire.
Martel, Paul Jean. (1879 - 1944) Salt Kettle. Oil on board. 1939. dimensions 15 x 17 1/2 inches.
An impressionistic oil painting from a Belgian artist. His work also figures in the National Gallery’s David White Collection on a similar subject.
Masters, Steven. Bermuda Window Study. watercolour. 1982. dimensions 14 x 21 1/2 inches.
Contemporary Bermudian painter has made a huge contribution to local art. Who the character depicted in the window is remains unknown, all part of the mystique of the composition.
McIvaine, Alexander. (American 1910 - 1985). View from Salt Kettle. c 1950. 12 x 19 1/2 inches Watercolour.
The painter appears to have been a New York architect.
McClure, Frederick A. House by the Water, St Georges. 11 x 15 inches. Framed. c1908. watercolour
Frederick A McClure. (American, 1860s - 1926. Based in Worcester, Mass. this watercolorist came to Bermuda in 1898 , the product of which excursion seems to have been just three paintings from a highly regarded artist. The St Georges waterfront is shown in the deep mysterious hues of the turn of the century.
Mears Henrietta D. House on the Sound. Watercolour, c1929. 14 x 11 inches unframed.
Henrietta Dunn Mears (American, born 1877). A painter and etcher, she was born in Milwaukee, Wis, but lives also in St Paul, Min. and Provincetown, Mass. She came to Bermuda with Charles Webster Hawthorne with whom there may have been some romantic attachment. Her works certainly reflects his style. Mears is an important artist, direct and using high key colours, perhaps also reminding us of the power of Frank Carson's canvases.
Middleton, May. Cottage, boats and blue seat. Watercolour, c1940. 10 x 7 inches.
(1875-1970). Like her fellow Bermudian Bessie Gray, May Middleton who was a local art teacher was prolific and popular on subjects such as flora and landscapes. Her works are difficult to find now.
Munson, Lucius. 1796-1823. Portrait of a Gentleman. 31cms x 37
On the reverse of the piece is written in antique florid pen: Painted by Lucius Munson, St Georges, Bermuda July 1822. The subject is reputed to be a Mr Atwood, though which one is not certain.There were a number who bore that name in the Old Town at that period.
More is known about the portrait painter. Munson was born on December 16th, 1796 at New Haven, Connecticut. He studied in New York City in about 1818, returned to work in New Haven for a year, then in South Carolina and again in New Haven. About 1822, he went to Bermuda for his health, and died on July 27th 1823 while on a visit to the Turk’s Island in the West Indies. In Bermuda he painted a number of persons of note, some of which are held by the National Trust. He was represented in the 1935 Loan Exhibition of Portraits at the Bermuda Historical Society and figured widely in the publication that was put out to commemorate that event. See New York Historical Society: Dictionary of American Painters 1564 – 1860.
Orde, Cuthbert Julian (1888-1968) Bermuda House and Seaview. Oil on board c1950.
Orde was a portrait, landscape and still-life painter of distinction, being widely exhibited by the Royal Academy and the National Portrait Galleries in the U.k. The artist's name is signed on the reverse.
Outerbridge, Richmond Higinbotham "Chubby". Floral Scene. 21 1/4 x 15 inches. watercolour. circa 1966.
R H Outerbridge (Bermudian) was born to Leila and Frederick Collins Outerbridge on Jan 18th 1919. His extraordinary talent as an artist was evident at an early age and as even a teenager he received the first of his many prestigious awards, a gold medal from the Royal Drawing Society Exhibition in London. In life he loved to travel and was incurably drawn to the exotic, though as a true St Georgian, he would return there nearly every year to record its colours and shadow. He died in far away Fiji in 1997 at the age of 78.
Outerbridge, Richmond Higinbotham "Chubby". St Georges in the Shadows. 7 x 5 inches. watercolour. 1939.
Panorama of Hamilton Harbour. as it was in 1865. 3 3/4 x 27 inches.
Plumber, James R. Cottage in the Bambos c.1891. 6 3/4 x 9 3/4 inches.
An artist possibly from England, in Bermuda he was at work in 1885, giving the day and the month of his various paintings. This piece six years later concentrated on the unusual feature of a house with a slate roof, likely to be found in Dockyard.
Potrait of a Gentleman. Artist Unknown. c 1820.
This framed oil on canvas of a prosperous sea captain is reportedly Capt. Musson looking out from his house on Hinson's Island c 1820. Items of jewelry attest to his good fortune. A vignette of his three masted sailing ship ready for a voyage figures prominently to the right of the painting.
Rainsford, Mabel G (British b. 1890/91). The Open Gate. Watercolour 9 1/2 x 6 1/2 inches Signed lower right. Attractively matted and framed.
Rainsford, Mabel G (British b. 1890/91) Floral Balcony. Watercolour 7 1/2 x 5 1/4 inches. Signed lower right. Attractively matted and framed
Rice, Henry Webster. Rose Hill. watercolour. 21 1/2 x 15 inches. c.1911.
The beautiful flower bedecked site became part of the venue for the St Georges Hotel and thereafter the St Georges Club.
Henry Webster Rice (American, 1853 - 1934). He was born in Pownal, Maine and lived in Watertown, Massachusetts. Rice was a watercolorist, teacher, and a member of both the Boston Society of Watercolour Painters and the Guild of Boston Artists. He exhibited at the American Watercolor Society, Pennsylvania Academy of Fine Arts, the Art Institute of Chicago, and other galleries. He visited Bermuda in 1913 and painted several watercolours there that year, though it is very possible he made other visits to our island. He produced a collection of vibrant paintings and watercolours of the New England shoreline as well as Bermuda, capturing well the lush surroundings of his subjects.
Rice, Henry Webster. Steps to St. Paul's Church, Paget, Bermuda. watercolour. 19 1/2 x 13 inches. c.1911.
Rice, Henry Webster. The Melon Garden, Bermuda. watercolour. 13.75 x 20 inches. Dated July 8th 1913.
Rice, Henry Webster. St David's from Tom Moores. watercolour. 14 x 20 inches 1913.
Richardson, F Murray. (American, 20th century). Hamilton Waterfront. framed watercolour. 1930s. dimensions 22.5 x 29.5 cms
He lived and was active in New York. Principally known for his urban views and modern interiors.
Schenck, Caroline C. Study in Morning Glory. watercolour. 40 x 25 cms. c1930.
Miss Schenck is recorded as having been in Bermuda on Jan 2nd 1930, on which day she painted a South Shore scene. Other works including local flowers such as this Morning Glory followed.
Scott, Captain Andrew. Hamilton Hotel, Bermuda. c1857. watercolour. 5 1/2 x 3 inches.
One of the earliest sketches of this fine establishment. Note the elegance of the building’s façade, the farming nature of the environment and the open farmhouse gate.
Scott, Captain Andrew. Fort St. Catherine (Incorrectly named Fort Victoria), Bermuda. c1857. watercolour. 6 x 3 1/2 inches.
Fort St Catherine (mistakenly called Fort Victoria). Capt. Scott’s depiction of the fort is attractive and accurate. Note the ramparts are bristling with armour all aimed at the vulnerable channel to the north east.
Scott, Captain Andrew. Georgetown, Bermuda. Located near the telegraph station at Fort George. c1857. watercolour. 6 x 3 1/2 inches.
Mention is made of the telegraph station above the East End islands. Communication techniques were developing rapidly at this time.
Scott, Captain Andrew. Hamilton Harbour, Bermuda. Looking West from foot of the lane. c1857. watercolour. 5 1/2 x 3 inches.
Good examples of different types of sailing ship and the skeleton of the decayed vessel the men are examining. Their rowboat, its oars stowed, is moored nearby. Prosperous looking buildings in the growing city line the foreshore.
Scott, Captain Andrew. Mount Pleasant, Bermuda. Richardson Farm. c April 1857. watercolour. 5 3/4 x 3 inches. The Bermuda Biological Station is now located at this site and the airport will be on the right.
Now the site of the Biological Station, with the land for the airport across the band of water to the right. In April 1857 it was known as Richardson’s Farm. A successful establishment, note the sheep grazing beside an open gate, the dilapidated state of the boundary walls, but also the size of the main house itself at this early date.
Scott, Captain Andrew. Pride of India, Bermudiana Indigenous Wild Flowers. c. April 1857. watercolour. 3 x 6 inches.
The flowers and plants that the author would always remember on these islands for his scrapbook.
Scott, Captain Andrew. St. Georges Barracks, Bermuda. c April1857. watercolour. 5 1/2 x 3 inches.
Probably a view of the Barracks. Note the stabling for horses, the informality of the three figures by the water and the shafts of light in the sky.
Scott, Captain Andrew. St. Georges from Convict Bay. c 1857. watercolour. 6 1/2 x 3 1/2 inches.
With Ordnance Island and well remembered buildings hugging the shore. Observe the fine stairway on the left and the fort which now houses Bermuda Search and Rescue operations standing proudly at the top of the hill.
Scott, Captain Andrew. St. Georges General View, Bermuda. c Feb 1854. watercolour. 5 1/2 x 3 inches.
Whereas most of the sketches from Capt. Scott appear in his tour of duty in 1857, this watercolour is earlier. Mullet Bay and a substantial dwelling dominate the foreground.
Scott, Captain Andrew. St. Georges Hulks, Bermuda. c.1857. watercolour. Museum quality framed. 10 x 12 inches.
Scott, Captain Andrew. St. Peters, St. Georges, Bermuda. c Feb 1857. watercolour. Museum Quality Framed. 10 x inches.
Sheppard, J Warren. Four Palms, Bermuda. c1907. pen and ink on paper. 5 x 7 inches.
Warren Sheppard (American, 1858 - 1937). Sheppard was a true Renaissance Man, successful as an artist, teacher, author, yachtsman, navigator and yacht designer. He was born on the Delaware River in Greenwich, New Jersey, a place associated with ships and shipping since colonial times. There his father, a lumbership captain, often took his young son along the river where the developing artist studied the various moods of the sea.
He earned commissions for his illustrations in many prominent American publications and was for a time illustrator for the Rudder, a magazine of the marine. Sheppard was ship's navigator in the 1907 New York Harbor to Bermuda race on the Dervish. This vessel was owned by Henry A Moss, the commodore of the Corinthian Yacht Club of Marblehead, Massachusetts. Dervish won the race in a remarkably fast 89 hours. Sheppard drew his illustrations in celebration of the victory.
Sheppard, J Warren. Coot Pond, St Georges. c1907. pen and ink on paper. 3.5 x 8 inches.
Sheppard, J Warren. Artist Sketching on South Shore. c1907. pencil on paper. 8.75 x 12 inches.
Smith, Frank Vining. (1879 - 1967) Weather beaten sailing ship leaving Bermuda. circa 1930. 14 x 20 inches. Watercolour.
An able American marine specialist, he completed a small number of paintings locally. He usually took the City of Hamilton as his base and worked outwards. Attractive subjects.
Smith, Captain H.S. Dockyard Residence 1. 5 x 7 inches. Watercolour.
Captain Smith, later Admiral was in Dockyard in 1923 and possibly stayed at a house just to the west of Watford Bridge.
Smith, Captain H.S. Cockburn Cut. 5 x 7 inches. Watercolour.
Smith, Captain H.S. Watford Bridge. 5 x 7 inches. Watercolour.
Sketched for J.B Warren and given to Admiral Sawyer, The Plan of Ireland Cove. circa 1811. 12 x 8 1/2 inches. The very first sketch of the beginnings of Dockyard was given by Sir J B Warren to Admiral Sawyer on
Jan 11th 1811. Island Cove coincides with the slipway from West End Yachts down to the sea. Note the careening wharf, pits, capstans and wooden props for scraping vessels. This is nearly sixty years before the arrival of the first dry dock to Bermuda from Woolwich, London
Spenser, E R. Watercolour of Front Street, Hamilton. 39 x 26.5cm probably from the 1950's. A reminder of a peaceful time in history before rampant development.
Sprinchorn, Carl. A Bermuda Landscape
Carl Sprinchorn (American, 1887 - 1971). He was a landscape painter who combined both modernism and realism. Born in Sweden, he spent much of his life in New York State and also in Maine. Between 1937 and 1952 he worked in the woods of Maine painting lumberjacks, hunters and river drivers. However he was also associated with Marsden Hartley whom he met in New York as early as 1916. Hartley, a modernist who collaborated with Alfred Stieglitz, Charles Demuth and Georgia O'Keeffe, influenced Sprinchorn greatly. Interesting Bermuda works resulted but they are few in number and sought after.
Sprinchorn, Carl. Sprinchorn, Carl Cricket, Bermuda 1929 8 x 13 inches Watercolour. Signed lower left
Sprinchorn, Carl. Coastal View of Bermuda. watercolour. 17.5 x 24 cms. 1927. Beautifully framed in gold.
Sprinchorn, Carl . Bermuda Still Life Hibiscus (retro). A Bermuda Landscape (verso). c1927Watercolours 22 x 15.50 inches.
Carl Sprinchorn (American, 1887 - 1971). He was a landscape painter who combined both modernism and realism. Born in Sweden, he spent much of his life in New York State and also in Maine. Between 1937 and 1952 he worked in the woods of Maine painting lumberjacks, hunters and river drivers. However he was also associated with Marsden Hartley whom he had met in New York as early as 1916. Hartley, a modernist who collaborated with Alfred Stieglitz, Charles Demuth and Georgia O'Keeffe influenced Sprinchorn greatly. Interesting Bermuda works resulted but they are few in number and sought after.
Sprinchorn, Carl . A Bermuda Landscape (verso). Bermuda Still Life Hibiscus (retro). c1927Watercolours 22 x 15.50 inches.
St Georges (after Driver). A primitive watercolour signed E. Drew, Bermuda 1835
This painting 29.5 x 21.5cm takes its inspiration from Thomas Driver's study of King's Square produced in 1823. By 1835 the spire of St Peter's Church had been demolished from the effects of a hurricane, but many novice artists imitated their masters as is the case with this retro piece. There are subtle differences in this simplistic imitation of Driver's original, adding new charms to a historic Bermuda scene.
Starkweather, William. Bermuda Beach Children. Oil on Board. 14 1/2 X 10 inches. c1910.
William Starkweather (1879-1969) Apparently this British born artist completed at least three oil paintings on his first visit to Bermuda, adapting his style in each case to the subject he has chosen. This one of two finely turned out girls who have been paddling on the South Shore especially impresses for the beauty of its seas and the texture of clothing chosen. Starkweather later taught art in New York and was a notable curator of exhibitions in that city.
Starkweather, William. House on the South Shore. Oil on Board. 9 1/2 X 13 3/4 inches. c1910. It would be tempting to imagine that the artist stayed in this cottage when he painted the Bermuda Beach Children.
Sullivan, Henry. House on East Broadway. watercolour. 1938. 10 x 16 inches.
Sutherland, Everett. Bermuda Quarry. egg tempora. c. May 1935. 37 x 29 inches.
Little is known of this painter but his medium in this large dramatic Bermuda composition goes back to the time of Christ. Egg yolk mixed with coloured pigments in a water-soluble binder was widely used for works for which a long lifespan was intended. Tempora was only superceded by oils after 1500 AD and was revived by American artists of the calibre of Andrew Wyeth in the 1930s. It works particularly well in the hugely busy Bermuda Quarry scene.
Swanson, George Alan. A Simple Graveyard, Bermuda. Watercolour. c.1935. 10 1/2 x 7 1/2 inches.
George Alan Swanson. 1908 - 1963. The artist, a member of Beebe’s Bathysphere expedition of 1934 to Nonsuch Island, Bermuda was fond of our islands and particularly St Georges. Galleries have been able to acquire his oils and watercolours covering varying activities as well as his underwater studies.
Swanson, George Alan. Bermudian Ladies in Forest. Watercolour. c.1935. 10 x 5 inches.
Swanson, George Alan. St. Georges Square. Oil painting. c.1935. 16 x 12 inches. Newly available Dec 2018
George Alan Swanson. 1908 - 1963.
Swanson, George Alan. St. Georges Square. Watercolour. c.1935. 22 x 17 inches.
Tremewen, Vern. Original Watercolour from 'Bermuda Scenes'. Government Gate. c.1963. 21 1/2 x 14 1/2 inches.
Trott, Otto. Boats on the Shore. c.1981. Watercolour. 19 x 14 1/2 inches.
Tucker, Charles Lloyd. St. Peters Church. watercolour. 1938. 18 1/2 x 24 inches.
Charles Lloyd Tucker (1913 - 1971)
A much loved Bermudian artist whose work appeared everywhere whether making a permanent record of significant events or features of landscape. Very collectible.
Tucker, Ethel. Baileys Bay.
Tucker, Grace. View of St. Georges. c.1930's. 18 x 21 inches.
Tucker, Grace. View of Shoreline with Sailboat c.1930's. 21 x 17 1/2 inches.
Tucker Sisters. Salt Kettle. c.1940's. 3 x 5 inches. A small watercolour or tinted photo. Ethel and Catherine Tucker.
Turner Sterling, Ross. Watercolour probably of fairylands. 21 1/2 X 15 inches. c1891.
Ross Sterling Turner (1847-1891) This is an outstanding painting of an impressionistic waterfront on Pitts Bay almost immediately opposite the Bermuda Coal Company headquarters at the estern boundary of the Princess pennisula. Neither the two storey house on the left nor the building which became a hardware shop on the right still exist (though the sailing dinghy Dauntless is prominent in photographs of the period). It is possible that the left hand dwelling was called Leighlin according to records. A boat building was in an inlet to the west of the shore line and the house called Olive Hill was a hundred yards up the hill above. The roofs of the houses glisten in the heat of the afternoon sun. The moored dinghy casts an elongated reflection on the varying blue ripples of the water.
Unknown Artist. Framed Oil Painting. Grape Bay, South Shore. 10 1/2 X 16 inches. Shows the richness of the area.
Verpilleux, Emile Antoine. Nonsuch Island. Oil Painting. c.1950. 12 x 10 inches.
Emile Antoine Verpilleux (1888 - 1964)
Well known in Bermuda as a portrait artist and a chronicler of local life, both historically and present day. This view of Nonsuch, from which Beebe explored the deeps, is particularly striking. Verpilleux uses St David’s as his shore line and cleverly depicts the luminescence of the clear water and the coral formation beneath.
Voorhes, Clark Greenwood. (American 1871 - 1933) Bermuda Cedars. Signed etching 6 x 7 1/2 inches
This Old Lyme, Connecticut artist wintered in Bermuda for many years from 1919 onwards.Along with Will Howe Foote and Harry Hofmann he made this island his second home.The three found much that inspired them on our peaceful, rather untouched shores. Voorhes bought a house in Somerset called Tranquility and built a studio there. In this etching, as with many of his other night time scenes he is drawn by the intensity and mystery of the dark.
Webster, E. Ambrose. (1869 - 1935) Croton, Bermuda. Oil on Canvas. dated 1916. dimensions 16 x 20 inches. Fully framed to Museum Standards.
One of this supremely gifted artist's most spectacular works.
Wedlake, Wallace. Boulders on South Shore.oil on canvas. dated 1889. dimensions 44 x 35.5 cms
This artist actually came to Bermuda to take up employment as a church organist. In the course of his stay he accomplished a number of paintings including this winter scene with lowering sky and forbidding rocks.
Wood, M.S. Castle Island. watercolour.10.5 x 13 cms. 23rd Feb 1850.
It is rare to find a piece of this quality so early. Wood may well have been an officer or crew member of one of the British warships which dropped anchor in the Castle Roads during that period
Wilcox, Ray. The Dredger, St Georges. Possibly the Lord Cochrane. framed impressionist watercolour. dimensions 12 x 19 cms. 1927.
This is another case of a successful painter visiting our shores with his family and capturing us on paper. The whole family, Wilcox, his wife and two daughters came for a month and stay in St Georges. There still exists snapshots of their holiday as well as amateur sketches by the three ladies. However Wilcox himself, a listed artist following the contemporary modernist trend, saw and liked the dredger at work widening local channels. This watercolour is the result
Winthrop, Andrews J. Oleander on a Sunlit Path. Oil on canvas. dimensions 11 x 15 inches. c1910.
Andrews J. Winthrop born 1879.
Woodcock, Hartwell Leon (American 1853 - 1929). Courtyard with Flowers. Watercolour 15 x 11 inches
Signed by the artist lower left. Dated 1909
Attractively matted and framed
Wyllie, William Lionel A start off Calshot. Watercolour 13 1/2 x 7 3/4 inches
William Lionel Wyllie (1851 - 1931)
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Remembering Anton Yelchin
Jan 25 2019
Interview: Anton Yelchin’s Parents Try to Move Forward with New Documentary
January 25, 2019Author: JasperComments Off on Interview: Anton Yelchin’s Parents Try to Move Forward with New Documentary
With Love, Antosha premiering at the Sundance Film Festival, Anton’s parents, Viktor and Irina, spoke with Los Angeles Times about moving forward, making the documentary, and more. Such a heartfelt interview.
Anton Yelchin’s parents live where their son died. After his sudden death nearly three years ago, Viktor and Irina Yelchin couldn’t bear the thought of selling Anton’s home. He’d been obsessed with the place in Studio City, planting himself on his recliner sofa most nights with a bowl of pretzels, his Brussels Griffon, Elvis, and a stack of movies to watch until 3 in the morning.
So even though it was in the driveway that his Jeep malfunctioned in 2016, rolling downhill and pinning him against a gate, this is where his parents felt they had to be.
“It’s difficult, but we feel his presence,” said Viktor, sitting on his son’s favorite leather sofa last week as the rain pattered on the roof. “We’re closer to him, even if it’s very hard.”
“It’s hard to walk there,” Irina said, her voice breaking as she motioned toward the driveway. “It’s hard to live. But we are. So we have to do something while we’re here.”
The couple have already done a number of things in tribute to their son, an actor who amassed close to 70 film and TV credits — ranging from the most recent “Star Trek” reboots to “Hearts in Atlantis” and “Curb Your Enthusiasm” — before his death at the age of 27. They erected a statue in his likeness at Hollywood Forever cemetery and donated $1 million to the newly named Anton Yelchin Cystic Fibrosis Clinic at Keck Hospital of USC, where he received treatment for the disease.
But at the Sundance Film Festival this month, they’ll debut their greatest labor of love: “Love, Antosha,” a documentary that celebrates the actor’s legacy.
Read the full interview at Los Angeles Times website.
Articles - Love Antosha - Tributes
Nov 16 2017
‘Porto’ Used the “Lightest, Most Liberating” Film Cameras to Shoot Its Handheld and Long-Lens Scenes
November 16, 2017Author: JasperComments Off on ‘Porto’ Used the “Lightest, Most Liberating” Film Cameras to Shoot Its Handheld and Long-Lens Scenes
Check out this feature article on Porto from MovieMaker magazine, which delves into the filmmaking procedure done for the film.
Porto is a love letter to the timelessness of great cinema. Director Gabe Klinger is a scholar of cinema history, and he was keen to invoke the textures and traditions of older films and filmmakers for this project.
The story didn’t have to be told in Portugal, but it had to take place in an old city that was lost in time. Depending on where you turn a camera, the city of Porto can transport you to any decade or century, and this was essential in creating a feeling of drifting through time and history. It was also essential to Gabe and I that we shoot on film (as opposed to digital), because film has a way of distancing the image from the present.
The film is about two people on separate paths that intersect for one cataclysmic night in a foreign city. We wanted Porto to evoke both the feeling of time passing throughout their lives, and of events happening in the present, and we worked with a variety of film formats to achieve this. Super 8mm was used for the more fleeting memories throughout their lives, almost like home movies. Super 16mm was our verité format, used to document the important events in their lives leading up to and following their night together. We used 35mm for a more formal real-time feel to show the encounter itself, unfiltered by time and memory. Initially these were to be separate chapters, but in the edit they were integrated to strike more connections between the past, present, and memory.
For the 8mm footage, we tested a half dozen cameras and settled on three different consumer models which slowly fell apart as the shoot progressed. We developed our tests with a hand-processor in Porto, something that we were very excited about initially, but the results were too unstable. In the end we sent our final films to ColorCity, a lab in Paris that at the time was still processing color reversal.
For the Super 16mm, we were watching a lot of direct cinema and verité films, and we were determined to get into the minimal, essential headspace of those filmmakers as much as possible. We even looked into reviving the sound-on-film cameras Robert Drew and associates were using, like, the Auricon, which scribbled the location audio directly onto the camera negative with a pulsing, shuttered light. Ultimately we decided that if those filmmakers were shooting today, they’d be using the lightest and most liberating 16mm cameras, and it was more important to honor their intention than to reanimate the technology. We used an Arri 416 for all the handheld and long-lens scenes following the two lead protagonists, Mati (Lucie Lucas) and Jake (Anton Yelchin), through their solitary existences. After filming several of these scenes, I found I was having a hard time falling into step with Anton. At last, he revealed that he had been honing a nearly imperceptible limp in his right foot for the role, as though Jake had been injured in his youth but hadn’t healed properly. I just had to learn the limp, and from then on we were in perfect sync! Anton was extraordinarily immersed in the role, even limiting his diet to local junk food like “Francesinhas” (meat and cheese sandwiches that are typical in the region) the entire time we were in Portugal, true to his character, who at one point in the film tell us that he doesn’t take care of himself.
For the scenes that take place in real-time the night of the encounter, Gabe wanted to jump up to 35mm ‘Scope to make it feel grander and more immersive, as the evening is experienced for Jake and Mati. We wanted it to feel less dated than the other material, so we shot with cleaner lenses (Cooke-S4s) and designed all of the scenes as single shots or series of shots with as little coverage as possible. Even the lovemaking scenes were designed to feel continuous and unyielding, unlike many love scenes which are minced together from a variety of angles in order to feel discreet. We did, however, shoot them very dark, keying two and a half stops under and filling three stops under from the key side, which veiled them in grain and rendered them in simpler forms, so that the nudity was not awkward and distracting.
The thing I love most about shooting film is that it removes everyone from the immediate results. With digital, you’re constantly seeing how the image will be rendered, which takes you out of the moment. When I look through an optical viewfinder and hear film whirring through the gate, I become totally tuned into the event happening in front of the camera, which is the essence of filmmaking. Each take is a unique event which cannot be repeated. An actor cannot do the same thing twice. This is true with digital, but somehow it’s easily forgotten. Seeing the picture on a monitor makes you think you can refine it endlessly, and that the final, flattened image is most important. It’s not. Good directors can maintain that immediacy and intimacy of the event when working with digital systems, but with film cameras it is inherent in the technology. This is why so many films we love from the last century feel so spontaneous and “raw.”
For us, it’s not about the aesthetic qualities of film (though those help); it’s the way film changes the process. With Porto, Anton and Gabe wanted to get back to this kind of filmmaking, which embraces chance and acknowledges that a movie can never be made the same way twice; that it is a product of who you cast and work with, and where and when you shoot. Thousands of factors influence the events that happen in front of the camera, and it becomes a cultural and historical artifact as soon as it is captured. Unfortunately, with Anton’s passing, this philosophy became even more real for Gabe and I. We’re very grateful to have the film as a recollection of our time with him.
Tech Box
Cameras: Arri 416 and Arricam Studio and Arri LT
Lenses: Zeiss Ultra16s and Cooke S4s
Film: Kodak 7219, Kodak 5219, Kodak Ektachrome and Fuji Velvia MM
Articles - Movies - Porto
Anya Taylor-Joy and Olivia Cooke on Working with Anton Yelchin in ‘Thoroughbred’
January 24, 2017Author: JasperComments Off on Anya Taylor-Joy and Olivia Cooke on Working with Anton Yelchin in ‘Thoroughbred’
When Anton Yelchin was killed in a freak car accident last June, the 27-year-old actor left behind five unreleased movies: “Star Trek Beyond,” the romance “Porto,” the delayed missing-son drama “We Don’t Belong Here,” a sci-fi mystery called “Rememory” and the twisted psychodrama “Thoroughbred.” We’ll now spend the year bidding Yelchin another bittersweet farewell with each release.
The latest sendoff came this weekend at the Sundance Film Festival, where the sensational “Thoroughbred” premiered. Yelchin has a supporting role in the movie, a “Heathers”-meets-”Persona” psychodrama depicting two wealthy teen girls (Anya Taylor-Joy and Olivia Cooke) who concoct a twisted murder plot in suburban Connecticut.
“Thoroughbred” wrapped production two weeks before Yelchin’s death. It was the last movie he shot.
“He is truly a phenomenal actor and an unbelievable person, and I think all of us feel incredibly lucky to have spent time with him and to love him and to allow him to inspire us,” Taylor-Joy told The Huffington Post on Sunday as Cooke nodded along with her sentiments. “It’s really a testament to his ability as a performer because [Tim, Yelchin’s character], in the script ? it’s not that he’s not fleshed out, but I think a lesser actor would have made him more of a parody. The sympathy and the love that we feel toward him? He’s just having a rough time. [Our characters] grab him and pull him into something, and you really feel for him.”
The “something” Taylor-Joy alludes to is the aforementioned murder of her character’s savage stepfather (Paul Sparks). Yelchin plays a registered sex offender and local drug dealer. Because he has a gun, the girls lure Tim into their devilish scheme ? he joins “Team Estrogen,” as Cooke put it. Yelchin is dynamite in the role, frazzled and wide-eyed with paranoia.
“It was incredibly sad to hear the news,” first-time writer/director Cory Finley said, referring to Yelchin’s death. “I think I can speak for everyone in saying we felt very, very fortunate to have worked with him. He was, first, just a consummate artist on set. He did a lot of improvisation and came in with a lot of really specific character work done and really had a vision for the character and had a huge role in shaping that part.”
After a slew of enthusiastic reviews for “Thoroughbred,” Focus Features purchased theatrical rights for around $5 million, a decent sum for a Sundance title without much pre-festival buzz. No release date has been announced.
“He was also just the kindest, funniest and most playful guy on the set,” Finley said. “We always really loved him. It was a huge loss, but he was an amazing actor and a great guy.”
Source: The Huffington Post
Articles - Movies - Thoroughbred
Oct 26 2016
Film Academy Dedicates Nicholl Fellowships Event to Anton Yelchin
October 26, 2016Author: JasperComments Off on Film Academy Dedicates Nicholl Fellowships Event to Anton Yelchin
The organization that presents the Academy Awards is dedicating a performance of promising new screenplays to late actor Anton Yelchin.
The Academy of Motion Picture Arts and Sciences said Tuesday that its annual Nicholl Fellowships live-read event will be presented in Yelchin’s honor.
The “Star Trek” actor performed at the first Nicholl live read in 2013. He died in June when his Jeep rolled down his driveway and crushed him. His parents have sued the vehicle’s manufacturer.
Yelchin’s “Star Trek” co-star John Cho, as well as actors Cary Elwes, Aja Naomi King and Alia Shawka are set to perform selected scenes from this year’s five winning screenplays on Nov. 3 at the film academy’s headquarters in Beverly Hills, California. The winning screenwriters were announced last month.
The Nicholl Fellowships is the academy’s annual, global screenwriting competition. Winners receive $35,000 and academy support toward the completion of a feature-length screenplay during their fellowship year.
Winning Nicholl scripts have also been produced and released theatrically, including 2006’s “Akeelah and the Bee” and “Stockholm, Pennsylvania,” which premiered at the Sundance Film Festival last year.
Source: Page Six
Articles - News
Felicity Jones on ‘Rogue One’ Reshoots, ‘Inferno’ Reluctance and Anton Yelchin’s “Devastating” Death
October 12, 2016Author: JasperComments Off on Felicity Jones on ‘Rogue One’ Reshoots, ‘Inferno’ Reluctance and Anton Yelchin’s “Devastating” Death
Anton’s co-star, Felicity Jones, from the 2011 film, Like Crazy, recently spoke with the Hollywood Reporter, wherein she opened up about Anton’s passing.
Then, in 2011, she got cast as a lead in Like Crazy, playing an English girl in Los Angeles who falls in love with an American boy — played by the late Anton Yelchin — before getting deported. The film became a Sundance darling and got Jones noticed by Hollywood (and upstaged Jennifer Lawrence in the process), even if it didn’t exactly explode at the box office (grossing only $3.7 million). It also began a friendship with Yelchin that lasted until his death in June, when his Jeep Cherokee rolled down the driveway of his L.A. home and crushed him against a gate. “It’s been devastating,” Jones says of the tragedy, obviously still shaken. “It doesn’t feel like there’s any justice or there’s no way of understanding it, really. It’s just been a very difficult time for his family. They’re very dignified, beautiful people. He was just like no one else. He really was a unique soul.”
Aug 02 2016
Anton Yelchin’s Parents to File Wrongful Death Lawsuit Against Fiat Chrysler
August 02, 2016Author: Jasper1 Comment
The parents of actor Anton Yelchin will file a wrongful death lawsuit against Fiat Chrysler on Tuesday, their attorney announced.
The “Star Trek” actor was killed June 19 when his Jeep Grand Cherokee rolled backwards down the driveway at his Studio City home and pinned him against a brick pillar. He was 27 years old.
Yelchin’s vehicle was under recall, after Fiat Chrysler and the National Highway Traffic Safety Administration received numerous complaints about confusion caused by the gear shifter. Some drivers have exited the vehicle believing the vehicle was in park when in fact it was in neutral, leading to “rollaway” crashes. The NHTSA is aware of nearly 700 complaints about the issue, including 266 accidents, of which 68 involved injuries. Yelchin’s crash is still being investigated, but is believed to be the only fatality related to the issue.
Yelchin’s parents, Viktor and Irina Yelchin, will file suit against Fiat Chrysler as well as retail chain AutoNation and ZF North America, which manufactured the gear shifter. Yelchin’s attorney, Gary Dordick, is expected to announce the lawsuit at a press conference on Tuesday morning.
Anton - Articles
Jul 21 2016
‘Star Trek Beyond’ San Diego Premiere Starts with Tribute to Anton Yelchin
July 21, 2016Author: JasperComments Off on ‘Star Trek Beyond’ San Diego Premiere Starts with Tribute to Anton Yelchin
“There’s something missing. There’s someone missing. Anton should be here.” So said JJ Abrams tonight before the world premiere of Star Trek Beyond at San Diego’s Embarcadero Marina Park Amphitheater about the late Anton Yelchin. The actor, who plays Pavel Chekov in the rebooted Star Trek franchise died June 19 in an automobile accident at his Los Angeles home.
Yelchin had played Chekov since 2009’s Abrams-helmed Star Trek that rebooted the franchise with new actors in the roles created for the 1960s original series. Tonight’s tribute came just hours after Abrams, who also directed 2013’s Star Trek Into Darkness and now executive produces the series, confirmed that the role of Chekov won’t be recast with a new actor. “I would say there’s no replacing him,” Abrams said in an interview with the Toronto Sun. “There’s no recasting. I can’t possibly imagine that, and I think Anton deserves better.”
Source: Deadline
Article: ‘Star Trek’ Won’t Replace Anton Yelchin
July 15, 2016Author: JasperComments Off on Article: ‘Star Trek’ Won’t Replace Anton Yelchin
With the imminent release of Star Trek Beyond – the third of the J.J. Abrams-era of Trek films – a fourth is already, “100% yes,” says producer Abrams.
But what happens to the character of Ensign Pavel Chekov, following the freakish auto mishap that killed 27-year-old actor Anton Yelchin a month ago?
In an exclusive interview with Postmedia Network, Abrams said the filmmakers have begun talks on dealing with his loss in the script. But one thing that is certain is that Chekov will not be recast.
“I would say there’s no replacing him. There’s no recasting. I can’t possibly imagine that, and I think Anton deserves better,” Abrams said.
In Star Trek Beyond, directed by Justin Lin, Yelchin’s character gets his most screen time thus far, as an encounter with a malevolent alien swarm forces the Enterprise crew to abandon ship and survive on a planet in small teams – Chekov and Captain Kirk (Christopher Pine) among them.
We have testimonials to Yelchin from Pine and other Star Trek cast that are to come.
Meanwhile, Abrams says, “We knew going into this movie it would be a bit of a heartbreak just because of Leonard (Nimoy, the original Spock, who died as Star Trek beyond was in pre-production, and whose death is noted in the plot). We had no idea just how devastating events would become.”
Is the character of Chekov himself going to be killed off? “I have thought about it, we’re working on it, and it’s too early to talk about it,” he said.
Source: Toronto Sun
Anton Yelchin Foundation
To honor his memory, Anton’s family and friends created this foundation to empower and support young people age 7 to 27 who are engaged in creative arts, but who face career challenges due to debilitating disease or disability.
The show follows 15-year-old Jim (Anton Yelchin), who is transformed into the Trollhunter, defender of the good trolls, after stumbling upon a magical amulet. While fighting alongside his best friend Toby (Charlie Saxton) and the wise four-armed troll Blinky (Kelsey Grammer), he also must juggle play rehearsal and homework.
Jake and Mati are two outsiders in Porto who once experienced a brief connection. A mystery remains about the moments they shared, and in searching through memories, they relive the depths of a night uninhibited by the consequences of time.
The widow of a wise professor stumbles upon one of his inventions that's able to record and play a person's memory.
A matriarch of a dysfunctional family is pushed to her tipping point by the disappearance of her son.
Two teenage girls in suburban Connecticut rekindle their unlikely friendship after years of growing apart. In the process, they learn that neither is what she seems to be, and that a murder might solve both of their problems.
Tweets by AntonYelchinCom
Maintained By: Jasper
Previous Owners: Rachel, Hayley, Jenny, Liliana & Nicole
Launched: June 25th, 2009
Hits: ()
Version: 5.0 - Ray of Light
RAY of Light: Remembering Anton Yelchin is an unofficial, non-profit fan-run site. We are in no way affiliated with Anton's family, friends, or any of his representatives. All media, photos, trademarks, and copyrights are the property of their respective owners. We do not claim ownership of the images used on this site, unless stated otherwise. No copyright infringement intended. If there's anything you find on the site that belongs to you and needs to be removed, please contact us before taking legal action. This site is proudly paparazzi and gossip free.
The site is no longer under free hosting, so if you’re interested in helping keep the site alive, please consider giving a donation. Any amount, no matter how small, will be greatly appreciated and will be credited on a page (unless you prefer to keep your donation private.) All donations will go to domain renewals, acquiring HQ photos for the gallery, and monthly hosting bills. Thank you!
© 2009 - 2021 RAY of Light: Remembering Anton Yelchin - Ten Thousand Beats - Cookies Policy - Privacy Policy
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xManuscripts and Archives Division
Found 2 collections related to Film stills
Filtering on: xManuscripts and Archives Division
Boultenhouse, Charles, 1926-
Charles Boultenhouse and Parker Tyler papers, 1927-1994
Manuscripts and Archives Division | MssCol 349
The Charles Boultenhouse and Parker Tyler Papers (1927-1994) consist of correspondence; published and unpublished manuscripts and typescripts of each man's writings; photographs; personal files and mementos; subject files; films; sound recordings;... more
The Charles Boultenhouse and Parker Tyler Papers (1927-1994) consist of correspondence; published and unpublished manuscripts and typescripts of each man's writings; photographs; personal files and mementos; subject files; films; sound recordings; art work; and printed material including books, periodicals, catalogs, and brochures. The papers document the men's relationship of almost 30 years; their involvement in and contribution to the arts; their social life with friends and colleagues; and, to some extent, the activities of the artistic communities with which they were involved. The bulk of the papers cover the period from 1945 on, after the men met and began living together, and so are in a sense the papers of their household as well as those of each man individually. less
Skinner, Constance Lindsay, 1882-1939
Constance Lindsay Skinner papers, ca. 1876-1939 [bulk 1930-1939]
13.8 linear feet (18 boxes)
Constance Lindsay Skinner (1882-1939) was a Canadian-born author, critic, historian, and playwright. Her writings included poetry, novels, plays, literary and music criticism, historical works, and adventure stories for children. She wrote... more
Constance Lindsay Skinner (1882-1939) was a Canadian-born author, critic, historian, and playwright. Her writings included poetry, novels, plays, literary and music criticism, historical works, and adventure stories for children. She wrote histories of the American southwest, Canadian northwest and Indian tribes of British Columbia. Collection contains correspondence, writings, photographs, movie stills, drawings, printed matter, and additional personal papers of Skinner and her parents. Correspondence, 1899-1939, is with authors, artists, editors, publishers, theatrical people, explorers, scholars, and journalists. Writings include typescripts of Skinner's short stories, articles, novels, poetry, children's stories, and criticism. Photographs are of family and friends, Indians of North America, and views of British Columbia and remote areas of the Canadian northwest. Also, drawings and illustrations, movie stills, clippings of criticism of her books and stories, and newsclippings relating to World War I. Other papers consist of her personal accounts, literary notebooks, cookbooks, address books, as well as letters and papers, 1876-1891, of her parents, Robert James Skinner and Annie Lindsay Skinner. less
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What Top Officials Charged with Keeping Our Nation Safe Are Saying About the TPP
by Tanya Somanader | May 19, 2015 | Monitor |
It is certainly true that America’s trade policy plays a large role in the resurgence and strength of our economy – but that’s not the only role it fills. Our trade policy also sits at the core of our strategy to keep America and our allies safe in the 21st century.
So here's the question: How can the President's progressive trade deal — the Trans-Pacific Partnership — help safeguard our future?
Tour of @Boeing factory was particularly special for me — my Dad was a pilot/flying has been in my family for years pic.twitter.com/U7QmoGlnLz
— John Kerry (@JohnKerry) May 19, 2015
Speaking today at Boeing Headquarters in Seattle, WA, America's top diplomat — Secretary of State John Kerry — offered this answer:
"It is no secret that the world in the future looks pretty complicated right now. The turbulence that we see comes from a combination of factors, including the fact that even as the world grows closer, there are powerful forces pulling people apart – terrorism, extreme nationalism, conflicts over resources, a huge number of people coming of age in parts of the world where there simply aren’t enough jobs. This creates a race between opportunity and frustration that we can’t afford to lose.
Expanded trade can help us win that race by spurring innovation and – and as we’ve seen in Asia and elsewhere – helping hundreds of millions of people to lift themselves out of poverty. And poverty, my friends, is where you see much of this violent extremism born.
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Wakefield Rhubarb Festival (2005)
Agriculture; FE
Sale, DVD (Region 2 PAL, 45 minutes), £11.99
This video of the Wakefield Rhubarb Festival gives an insight into the traditional forced rhubarb growing process, the history of the Rhubarb Triangle, together with a glimpse of the 2004 festival tour.
DVD Find Other To order
International Festival of Ethnographic Film 2011
2 Jun 2011, 18:34
bufvcsergio
12th RAI International Festival of Ethnographic Film 2011 23 - 26 June 2011 - UCL, Roberts building, London www.raifilmfest.org.uk Meet us on FACEBOOK This festival is sponsored by The Royal...
Other Record only
Autobiography of a Nation, The: The Festival of Britain (2003)
Architecture; Design; History
Slide (Slide Set, 24), £30.00
The 1951 Festival of Britain is mostly remembered for the South Bank Exhibition in London, and this slide set contains views of the exhibition and many of its buildings and structures (including the Dome of...
Family Portrait (1951 Video)
Videocassette. VHS. b&w. 25 min.
The last film directed by Humphrey Jennings and made for the Festival of Britain in 1951, the film shows the British in everyday life, in the arts and in the sciences. Surveys the achievements of...
Striking Sparks (1985 Video)
Hugh Kelly
Hire Sale, Videocassette. VHS. col. 24 min.
A record of the 1984 Tyne and Wear Youth Theatres Festival made by people who attended the event. Includes discussions of the issues involved in youth theatre: Phil Clark, the festival organiser and Roger...
1951 Festival of Britain, The: A Living Legacy (1996 Multimedia)
Sale, 25 slides. b&w., 2000 sale: £25.00 (inc. VAT +p&p)
Images from the Design Council Slide Collection illustrating the use of design within the South Bank exhibition site of the 1951 Festival of Britain through some of the lesser known architecture and other...
IWM Student Film Festival and Competition
bufvclinda
The Imperial War Museum has just launched its annual student and amateur Film Making Competition and Festival. Now in its tenth year, the festival will run from November to December 2010. There are three...
Art in the Park (2000 Video)
Judi Alston
Sale, Videocassette. VHS. col. ? min., 2001 sale: £15.00 (inslusive)
Records the Celebrations Festival, a festival of arts in education held on the Bretton Hall Estate from 28 June to 2 July 1999. Over 1000 pupils from schools in the Wakefield District participated in the...
Ouaga: African Cinema Now! (1988 Video)
OUT OF DISTRIBUTION, Videocassette. VHS. col. 52 min.
Explores the work of African film-makers, particularly the renewed interest in the traditions of indigenous cultures to articulate new film languages. Leading African film-makers discuss the social and...
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Terence Gray and the Cambridge Festival Theatre (1980 Multimedia)
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Terence Gray was the foremost theatrical innovator of his day in England. Under his management the Cambridge Festival Theatre of the ‘twenties presented highly stylized and innovative productions...
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AppRiver lands on Top 501 Global Managed Service Providers list by Channel Futures
By: AppRiver via GlobeNewswire News Releases
July 09, 2018 at 11:00 AM EDT
Gulf Breeze, Florida, July 09, 2018 (GLOBE NEWSWIRE) -- AppRiver, a leading provider of cloud cybersecurity and productivity solutions, ranks 16th among the world’s most strategic and innovative managed service providers (MSPs), according to Channel Futures 11th-annual MSP 501 Worldwide Company Rankings.
The MSP 501 is the first, largest and most comprehensive ranking of managed service providers, with a record number from across the globe competing this year.
“AppRiver’s advanced security platform currently protects more than 60,000 corporate customers from phishing attempts, ransomware attacks, conversation hijacking, and other threats,” said AppRiver CEO Michael Murdoch. “This recognition speaks to both the quality of our solutions and to the innovative, dedicated team behind them.”
AppRiver provides email security, web-based malware protection, email encryption, secure archiving, and email continuity solutions. All of its security services are designed to work seamlessly with Office 365 and Microsoft 365, both of which are also offered by the company.
According to Channel Futures, MSPs were ranked according to their unique methodology, which recognizes that not all revenue streams are created equal. Revenue figures were weighted according to how well the applicant's business strategy anticipates trends in the fast-evolving channel ecosystem.
“This year’s applicant pool was the largest and most diverse in the history of the survey, and our winners reflect the health and progressivity of the managed services market,” says Kris Blackmon, Channel Futures content director and editor of the MSP 501. “They’re growing their revenue, expanding their customer influence and exploring new technology that will propel them for years to come.”
The full MSP 501 report, available this fall, will be based on applicant responses, interviews and historical data to identify business and technology trends in the IT channel.
The complete 2018 MSP 501 list is available at Channel Futures.
About AppRiver
AppRiver provides cloud-based cybersecurity and productivity services to over 60,000 companies worldwide. Launched in 2002, the company uses advanced proprietary technology and big data analysis in combination with expert human analysts to block phishing, spear-phishing, business email compromise, and other forms of malware before they reach customer networks. AppRiver also provides web-based malware protection, email encryption, secure archiving, and email continuity solutions. Recognizing that user email is the largest area of vulnerability, AppRiver established itself among the world’s top providers of Office 365 and Secure Hosted Exchange solutions. All services are offered on a pay-as-you-go basis and are backed by award-winning 24/7 white-glove Phenomenal Care® customer service. AppRiver is headquartered in Gulf Breeze, Florida and maintains offices in Georgia, Texas, Canada, Switzerland and Spain. For more information, please visit www.appriver.com.
Channel Futures, Channel Partners Online, Channel Partners Conference & Expo and Channel Partners Evolution are part of Informa, the international business intelligence, academic publishing, knowledge and events group. Informa serves commercial, professional and academic communities, helping them connect and learn, and creating and providing access to content and intelligence that helps people and businesses work smarter and make better decisions faster.
Informa has over 10,000 colleagues in more than 20 countries and a presence in all major geographies. It is listed on the London Stock Exchange and is a member of the FTSE 100.
Jim McClellan
AppRiver
jmcclellan@appriver.com
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The Fo’c’sle Museum Aboard TSS Earnslaw
We went to visit the fo’c’sle – short for forecastle or the pointy bit cabin, once crew’s quarters, there we found the on board museum of this incredible Lady of the Lake, the TSS Earnslaw or Twin Screw Steamer Earnslaw. On the wall was her official number and registration tonnage, just as we have to display ours. Beez ON – official number is 91474 and her net-ton is 14, tiny by comparison.
Her lovely port and starboard navigation lights.
We looked at her substantial rivets on the wall and her sturdy wooden floor.
Her award.
The “Bourden” Gauge, a new one on us, uses a semi-circular tube to which the medium to be measured is connected. Changes in pressure cause the tube to expand or contract, this movement is transmitted to a pointer. A scale shows the pressure or vacuum reading. We then spent some time looking at the wonderful photographs on the walls, thank you to all those who donated them, giving us this look back into the history of the ladies of the lake.
The Screw Steamer Victoria – ex Yarra River, Melbourne, arrived at Lake Wakatipu in 1863, renamed Venus in 1874.
The paddle steamer Antrim launched in 1868.
The launching of the Jane Williams at Town Creek, Queenstown in 1872, later she was renamed Ben Lomond. Sadly, she was scuttled in 1952. Loading passengers and freight.
Lake Wakatip Mail advertising the steamers in 1877.
The Lake Wakatipu Steamer Fleet in the 1920’s. The Mountineer, 1872. The Ben Lomond, 1879 and the TSS Earnslaw, 1912.
The paddle steamer Mountaineer being launched at Kingston in 1879. She had to be refitted after a major fire.
The paddle steamer Theodore launched on Lake Wanaka in 1881. The cutter Mystery II launched in 1882 at Queenstown Wharf.
The Ben Lomond berthed at Queenstown after her major refit in 1885.
The paddle steamer Mountaineer at Kinloch in the 1890’s and in Queenstown with Eichardts Hotel in the background.
Passenger Launch Thelma on Lake Wakatipu in 1910.
TSS Earnslaw being prefabricated by John McGregor, two triple expansion steam engines being assembled, Dunedin 1911.
TSS Earnslaw’s reassembly at Kingston at the southern end of Lake Wakatipu, 1911. Her hull complete and ready for launching.
The wheelhouse and final fittings to the promenade deck - 1912.
About to commence her maiden voyage to the head of the lake and invited guests on the 19th of October 1912.
Captain J.B. Robertson at the helm for her maiden voyage and the crew.
TSS Earnslaw seen at the steamer wharf in Queenstown in 1916, grand outfits on the punters.
TSS Earnslaw on the slipway at Kelvin Grove being surveyed and repainted in 1944.
Queenstown can be proud to boast the oldest working, full sized, stationary, fire tubed boiler in New Zealand. The engines and boiler of the Wakatipu paddle steamer, the Antrim, are still used today to haul the TSS Earnslaw up the slipway at Kelvin Grove. This coal fired boiler celebrated its 100th birthday on the 1st of September 1993. When the Antrim was built in 1868 a wood fired locomotive type boiler was installed which was replaced by a coal fired boiler and it is this system which is used on the slipway today. In 1920 the fifty six tonne paddle steamer was dismantled and the engines and coal fired boiler were removed and taken to the slipway, where they were geared to a winding drum winch, this new haulage system was used for the first time when slipping the TSS Earnslaw in 1922. Every two years the heart of the Antrim pulls the TSS Earnslaw on to dry land for an inspection of her plates, the actual process of hauling her can take up to four hours, the hull is then cleaned and checked by the Ministry of Transport Surveyors.
Early 1960’s truck being loaded onboard, likely headed for Glenorchy.
Sheep, cars and visitors arrive at Mount Nicholas Station. Sheep were a common cargo before road access to high country stations.
Loading wool and grain, also a bulldozer at Mount Nicholas Station.
TSS Earnslaw unloading a car and freight at Kinloch, the starting point for the famous Routeburn Valley bus tour.
TSS Earnslaw undergoing a major refit in 1984.
TSS Earnslaw in Beach Bay returning to Queenstown, as she still looks today.
ALL IN ALL A WONDERFUL COLLECTION OF PHOTOGRAPHS
REALLY INTERESTING
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Tours ›
Originally, Mount Zion was the name of Temple Mount – Mount Moriah, but in the Middle Ages Mount Zion migrated to its current location, South West of the Old City, near the walls. Its importance to Judaism, Christianity and Islam makes it fascinating, and of endless traditions, and legends.
The starting point of the tour is Zion Gate, which may look like an ordinary gate, but in fact it is a structure planned with practical thinking. You may see the many bullets signs around the gate, a memorandum from the War of Independence, which gave the gate its second name “the wounded gate.” On the upper part of the gate stands a little porch, called “Machicoly”. The origin of the word comes from French, and means to break a neck (macher + col). Machicol in French means porch. The Machicoly was used for dropping heavy objects on the enemy, breaking their necks.
From this porch, the defenders of the walls used to spill hot oil on their enemies during the siege on the city, just like in the movies. Apart from the Machicoly, notice also the two small windows above it, which were used for lowering two massive metal rods to prevent the entry of the carriages into the city when the gate was breached.
These are not the only defense tactics of the gate. Its inner part is shaped in the form of the letter L, creating a sharp curve to the right, so that in case of a breach, the enemies will be forced to slow down in order for the sharp turn, making them defenseless against counter attacks, and giving the locals time to run or resist. Considering that most warriors hold their sword in their right hand, and the shield with the left, the path coming from the right allows the citizens to attack the intruders, whose right side is defenseless, and their shield is in their left hand, which is farther from the path.
Franciscans and Romantics
Continue south from the stone path above the garage. You will probably meet with a salesman selling bagels or sweets to passersby. a few steps later you will reach a point where the path splits. The right path continues alongside the monastery wall, leading to a romantic and beautiful corner of Jerusalem, a magnificent sight at night, watching over Dormition Abbey through the two walls on both sides of the path.
Between the two small walls, the Catholic Dormition Abbey peeps through. On the upper part of the wall to the left is a statue of a man carrying a cross, and 5 engraved crosses above it – 4 small crosses and a larger one. This is the Jerusalem Cross, formerly the symbol of the Crusaders, presently the symbol of the Franciscan Order whose members look after the sacred places for catholicism, in the name of the Vatican and the Pope. The figure in the sculpture is St. Francis, the founder of the order, who lived in Italy during the 12th century.
Franciscan monks can be seen all over Israel, easily identified by their clothing, just like Sean Connery in the movie “Name of the Rose”, a brown robe, a hood, and a white belt with three knots, symbolic of the three vows – chastity, poverty and obedience. Continue towards Dormition Abbey, walking straight onwards, on the path curving slightly to the left from the church, until you reach David’s Tomb.
Jewish, Christian and Muslim
David’s Tomb is probably the only building in Israel, or even in the world, to have a synagogue on the first floor, a former church on the second, and a mosque on its roof. It is important to keep quiet, since people live here.
There were a lot of legends and myths circulating about David’s Tomb, but apparently the building is not King David's tomb, since in the Book of Kings 1, chapter 2 it was said: “Then David rested with his ancestors and was buried in the City of David.” The City of David is hundreds of meters away from Mount Zion. You will notice the big Mezuzah at the entrance, with its three crowns of Torah books, smuggled to Israel from Jewish communities, which were destroyed during the Holocaust.
The metal staircase leaning against the wall to the left (there are public toilets in front of it, by the way) leads to the Hall of the Last Supper, and to its amazing stained-glass windows. If the metal door leading to the roof is open, you can climb up to the observatory near the turret, minaret in Arabic, of Mosque Nabi Daoud - David the Prophet.
The roof is called the “Temple Mount Observation”, since it was the closest to the Temple Mount and Western Wall in 1948-1967, the period when the Jordanians ruled over the Old City, while the nearby Mount Zion belonged to Israel. On the roof, next to the minaret of the mosque, there’s a tiny room with a stone dome. This is the room of Israel’s second president, Yitzhak Ben Zvi, who used to come here in the late fifties. Today, the room can be visited during noon hours.
South, towards the stairs we already climbed, you can see the Armon HaNatziv Promenade, and on the left, Herbert Samuel's palace, now the headquarters of the U.N. in Israel. The road creates an optical illusion, known among locals as the 'enchanted road,' enabling one to turn off the car engine going down the road, making it seem like the vehicle was going backwards. The road is still there, but it is now part of an Arab village, so we do not recommend that you try it out.
To the East you can see the most ancient Jewish cemetery in the world, located on the Mount of Olives, as well as the Intercontinental Hotel /Seven Arches on top of it. A little to the left we have the tower of Augusta Victoria with its triangular roof, and more to the left, in the Old City, a glimpse of gold is visible – The center of Temple Mount.
Bobby, the British Policeman, and the Bell Tower
The Abbey of the Dormition is seen in all its glory, and behind it stand the King David hotel and the YMCA tower. “Dormir” means sleep in both Latin and French. In this case, it refers to Virgin Marie, Mother of Jesus, who fell asleep for the last time in Zion. Another version says that Maria's final sleep took place in Miriam’s Grave in Kidron Valley, or in Ephesus in Turkey.
On the lefthand side of the monastery you is the Bell Tower, and if you're lucky you might be able to hear them ring before the prayer. A well-known Jerusalem anecdote says that the tower is actually called Bobby, like the nickname of British policemen. The dome of the tower looks like a hat of a British policeman, the clock is the nose, and the windows from two sides are the eyes. A bit lower a triangular mustache and a mouth. A Few steps to the left, and Bobby changes his face – two clocks become eyes, and the window under them – a nose. On top of Bobby's head is a Jewish metal rooster, probably a kosher one. The rooster is the work of a Jewish blacksmith, who got a special order from the church in 1909. Why a rooster you may ask? According to the New Testament, Jesus Christ told his disciples that until the call of the rooster at dawn, Peter will betray him. The monastery is open for visitors.
Who else was here on the roof? In 1992, David Koresh and 86 of his disciples committed mass-suicide in Texas, USA, after a long battle with FBI agents. Koresh, who claimed to be the messiah, was a guitarist and a singer, who filmed video clips on this roof (at least two of them available online). After he came back to the US, he gathered weapon in a ranch in Texas and prepared himself and his disciples for the Armageddon. The unfortunate end is known.
The Original Painting by Da Vinci
The exit will lead you towards the Hall of the Last Supper, also called the Cenacle. The Cenacle is a Crusader building from the 12th century. Notice the impressive arches and Mihrab towards Mecca, since this place was also previously used as a mosque.
When entering, you will see a Crusader column decorated with Falcon birds. Every bird has chicks pecking its belly. In many paintings, Jesus is portrayed as a rooster with chicks (his disciples), and sometimes as an innocent lamb led to slaughter. Here, the Falcon represents Jesus, and the chicks are his believers, who bite his flash for their own sake.
According to tradition, in this hall Jesus ate the last Passover Seder before he was crucified. Here he gave his disciples to drink the wine, symbolizing his blood, and eat the bread, symbolizing his flesh. To this day, this ceremony is recognized in Christianity as the Mass, as well as the famous painting of Leonardo Da Vinci. The Pope visited here in 1966, granting Israel the permission to pave the road from the Sultan’s Pool back here, despite the Jordanian border lying nearby at the time.
Apart from where we visited, Mount Zion has many other interesting places: the grave of Oscar Schindler, the Church of St. Peter in Gallicantu, and a few interesting cemeteries, spread around Mount Zion.
We also recommend visiting the place at night. Although the monastery, the tomb and the Last Supper hall usually close when it gets dark, there is no comparison to the beauty of Mount Zion lighted at nightfall, and to the observation point from the roof watching over the entire city of Jerusalem.
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Does Foreign Direct Investment Build The Capabilities Of The Host Country? Evidence From Malaysia
Ling, Renee Mei Yen (2003) Does Foreign Direct Investment Build The Capabilities Of The Host Country? Evidence From Malaysia. [Dissertation (University of Nottingham only)] (Unpublished)
Given appropriate host country policies and a basic level of development, a preponderance of studies show that foreign direct investment provides numerous benefits as well as costs to the host country. As the empirical evidence remains inconclusive, this paper is an attempt to contribute further to this debate by focussing on six non-resource and resource based industries in the Malaysian manufacturing sector from 1980 to 2001. By adopting the coefficient of correlation as the central statistical technique, empirical results infer only strong evidence that FDI builds the capabilities of the host country in two non-resource based industries namely the Electronics and Electrical products and Textiles and Textiles products industries. Lack of technology acquisition capabilities, shortage of specialised and skilled labour and deficiencies in supporting industries represent the main reasons behind the weak correlation observed for the Machinery Manufacturing, Chemical and Chemical products, Wood and Wood products and Rubber products industries. The results reflect the narrow-based positive' effects of FDI in the Malaysian manufacturing sector and also explicate the Government's recent amendments to its investment incentives towards the promotion of the four latter industries.
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Leitner-Wise v. Iredale Clark
PAUL ANDREW LEITNER-WISE, Plaintiff,
ROBERT BERNARD IREDALE CLARK, et ah, Defendants.
BERYL A. HOWELL, Chief Judge
The plaintiff, Paul Andrew Leitner-Wise, invents firearm technology. Two of the plaintiffs inventions, however, allegedly have been wrongly identified as the work of a fellow-inventor, defendant Robert Bernard Iredale Clark. According to the plaintiff, Clark conspired with a second defendant, Eugene L. Flanagan III, a patent attorney, to apply for patents that misattributed the plaintiffs inventions to Clark. That misattribution, the plaintiff alleges, freed defendant Southern Gun Company, Ltd. ("Southern Gun")-Clark's company-to use the patented technology in its products without the plaintiffs consent and without compensating the plaintiff. The plaintiff claims that the conduct of these three defendants gives rise to several common-law claims and requires correcting the named inventor on two patents.
The merits of the plaintiffs allegations will be for another court to decide. None of the defendants-Clark, Flanagan, or Southern Gun- and none of the alleged misconduct, is connected to the District of Columbia. Thus, Flanagan's Mot. Dismiss Am. Compl. ("Flanagan Mot. Dismiss"), ECF No. 18, and Clark & Southern Gun's Mot. Dismiss Am. Compl. & Mot. Summ. J. ("Joint Mot. Dismiss"), ECF No. 19, are granted as this Court cannot exercise personal jurisdiction over any defendant.[1]
By the plaintiffs account, he is "a prolific inventor in the field of small arms design." Am. Compl. ¶ 30, ECF No. 16. The multitude of patents listing the plaintiff as an inventor substantiate that claim. Id. ¶ 31. This case, in which the pertinent events "largely occurred in Cornwall, United Kingdom, Westminster, Maryland, and Alexandria, Virginia," id. ¶ 13, pertains to two such patents: (1) U.S. Patent No. 7, 735, 410 (issued on June 15, 2010) (" '410 Patent ") and (2) U.S. Patent No. 8, 997, 622 (issued on Apr. 7, 2015) (" '622 Patent "), id. ¶ 2.
Since at least 2004, the plaintiff, who is a citizen of the United Kingdom and a resident of the District of Columbia, Am. Compl. ¶¶ 7, 18, has been developing "a firearm bolt assembly with a fully-supported bolt face," id. ¶ 35. In 2005, Clark, who, like the plaintiff, is a citizen of the United Kingdom, id. ¶¶ 8, 19, was "contracted to manufacture parts for prototype bolts," id. ¶ 39. On October 20, 2006, an application to patent a "Firearm Bolt Assembly with Fully-Supported Bolt Face" was submitted to the United States Patent and Trademark Office ("USPTO"). Id. ¶ 41; see also U.S. Patent Application No. 11/583, 784 (filed Oct. 20, 2006) (" '784 Application "). The application listed the plaintiff, Clark, and a third-party as the three inventors, see '784 Application, but was abandoned prior to the award of any patent, Am. Compl. ¶¶ 42, 56.
In 2008, the plaintiff was looking for a new patent attorney, and was introduced to Flanagan, a Connecticut resident. Id. ¶¶ 9, 43-44. Unbeknownst to the plaintiff, Flanagan also was working with Clark on a separate patent application. Id. ¶ 45-48. On February 23, 2009, Flanagan helped Clark apply to patent a "Firearm Bolt." Id. ¶¶ 45-48, 61-62; see also U.S. Patent Application No. 12/390, 839 (filed Feb. 23, 2009) (" '839 Application "). The '839 Application was a divisional application of the '784 Application, which, according to the plaintiff, means that the '839 Application did "not include any subject matter" that was not "derived from and fully supported by [the '784 Application]." Am. Compl. ¶¶ 56-58; see also '839 Application (stating that the '839 Application is "[division of application No. 11/583, 784, filed on Oct. 20, 2006, now abandoned"). Although the plaintiff concedes that the '784 Application was eventually abandoned, the plaintiff alleges that the '839 Application was "filed prior to the abandonment, thereby establishing proper continuity with [the '784 Application]." Am. Compl. ¶ 56. Nevertheless, the '839 Application listed Clark as the sole inventor, a consequence, the plaintiff claims, of a conspiracy between Clark and Flanagan to avoid regulations applicable to firearm technology invented in the United States. Id. ¶¶ 36-37, 59-60; see also '839 Application. Based on the '839 Application, Clark was awarded, on June 15, 2010, the '410 Patent for a "Firearm Bolt." Am. Compl. ¶ 57; see also '410 Patent. Clark, the plaintiff alleges, had contractual arrangements to license that patented technology. Am. Compl. ¶ 64. The plaintiff first learned of the '839 Application and resulting '410 Patent in 2016. Id. ¶¶ 49, 66-67.
Meanwhile, Flanagan was preparing a separate patent application for a "Gas Operating Systems, Subsystems, Components and Process." Id. ¶¶ 51-54; see also U.S. Patent Application No. 12/694, 061 (filed Jan. 26, 2010) (" '061 Application "). The claimed inventions were revisions to technology that the plaintiff had previously patented. Am. Compl. ¶¶ 34, 38; see also U.S. Patent No. 7, 461, 581 (issued Dec. 9, 2008) (patenting the plaintiffs invention of a "Self-Cleaning Gas Operating System for a Firearm"). Flanagan filed the new application with the U.S. Patent Office on January 26, 2010. Am. Compl. ¶¶ 51, 54; see also '061 Application. The '061 Application named the plaintiff and Clark as co-inventors. Am. Compl. ¶¶ 52-53; see also '061 Application. While the '061 Application was pending, Flanagan filed, on May 4, 2013, a divisional application. Am. Compl. ¶¶ 71, 74; see also U.S. Patent Application No. 13/887, 295 (filed May 4, 2013) (" '295 Application ") (stating that the application is a "[division of application No. 12/694, 061"). The '295 Application also named the plaintiff and Clark as co-inventors. Am. Compl. ¶¶ 72-73; see also '295 Application. Based on the two applications, U.S. Patent No. 8, 443, 711 (" '711 Patent") was issued on May 21, 2013 and the '622 Patent was issued on April 7, 2015. Am. Compl. ¶ 87; see also '711 Patent; '622 Patent. Each patent listed the plaintiff and Clark as co-inventors and non-party Leitner-Wise Defense, Inc. ("LWDI") as the assignee. Am. Compl. ¶ 75; see also '711 Patent; '622 Patent. The plaintiff claims to have invented the only elements that the '622 Patent covers, and that, notwithstanding the plaintiffs involvement, Clark and Flanagan later conspired to deprive the plaintiff of the '622 Patent by submitting an application to remove the plaintiff as a named inventor. Am. Compl. ¶¶ 80-85, 87. Again, the object of the conspiracy was circumventing regulations applicable to firearm technology developed in the United States and to deprive the plaintiff of the benefit of his inventions. Id. ¶ 80-81. Moreover, the plaintiff alleges that although LWDI was designated as the assignee for the '622 Patent, LWDI ended operations in 2010. Id. ¶¶ 12, 76. Finally, the plaintiff claims that he was ignorant of the '622 Patent until 2017. M¶¶ 78-79, 86.
Historically, "[t]he Defendants have conducted business in the District of Columbia through [LWDI], including solicitation of sales of rifles to United States Government agencies including the United States Army and the Pentagon Force Protection Agency." Id. ¶¶ 29. The plaintiff provides no details about when these alleged transactions happened. Now, according to the plaintiff, Southern Gun, a British company owned by Clark, id. ¶¶ 10, 33, "uses" the technology claimed in each of the '410 and '622 Patent without the plaintiffs consent and without compensating the plaintiff, id. ¶¶ 88-91. Moreover, "the Defendants," through LWDI, have sold firearms containing the '622 Patent's technology, to the Pentagon Force Protection Agency and Presidential Airways, id. ¶¶ 92-93[2], and Clark and Southern Gun "have subsequently conveyed the technology described in the '622 and '410 Patents to foreign government entities without permission of the United States Government," id. ¶ 94.
Based on the foregoing allegations-all of which are accepted as true at this stage-the plaintiff instituted this action on April 4, 2018. See Compl., ECF No. 1. After the defendants filed motions to dismiss, see Clark & Southern Gun's Mot. Dismiss, ECF No. 12; Flanagan's Mot. Dismiss, ECF No. 15, the plaintiff amended his complaint, see Am. Compl.[3] In the Amended Complaint, the plaintiff brought claims, under 35 U.S.C. § 256, seeking to correct the named inventors on the '410 and '622 Patents, see Am. Compl. ¶¶ 95-110; a claim, under 35 U.S.C. § 281, alleging patent infringement, see Id. ¶¶ 111-118; and common-law claims for unjust enrichment, civil conspiracy, misappropriation of intellectual property, conversion, breach of fiduciary duty, tortious interference with business expectancy, and legal malpractice, see Id. ¶¶ 119-155. The defendants subsequently renewed their motions to dismiss, seeking dismissal pursuant to Federal Rules of Civil Procedure 12(b)(1), 12(b)(2), and 12(b)(6), for lack of standing, lack of personal jurisdiction, and the plaintiffs failure to allege any plausible claim to relief, respectively. See generally Flanagan Mot. Dismiss; Joint Mot. Dismiss.
Those two motions to dismiss are now ready for resolution.
II. LEGAL STANDARD
A. Federal Rule of Civil Procedure 12(b)(2)
To survive a motion to dismiss under Federal Rule of Civil Procedure 12(b)(2), the plaintiff "must make a prima facie showing of the pertinent jurisdictional facts." Livnat v. Palestinian Auth., 851 F.3d 45, 56-57 (D.C. Cir. 2017) (quoting First Chicago Int'l v. United Exch. Co.,836 F.2d 1375, 1378 (D.C. Cir. 1988)). The prima facie showing requires specific factual allegations connecting the defendant to the forum. First Chicago Int'l, 836 F.2d at 1378- 79. Conclusory statements and bare allegations are insufficient. Livnat, 851 F.3d at 57. Unlike a motion to dismiss under Federal Rule of Civil Procedure 12(b)(6), the court "may consider materials outside the pleadings in deciding whether to grant a motion to dismiss for lack of jurisdiction." Jerome Stevens Pharms., Inc. v. FDA,402F.3d 1249, 1253 (D.C. Cir.2005). Indeed, jurisdictional arguments may be premised on the "pleadings, bolstered by such affidavits and other written materials as [the parties] can otherwise obtain." Mwani v. bin Laden,417 F.3d 1, 7 (D.C. Cir. 2005). "When deciding personal jurisdiction without an evidentiary hearing-as here-the 'court must resolve factual disputes in favor of the plaintiff" ...
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« A Review of “Carvings” by G. Emil Reutter
recognitioN »
Straight to Chartres: On Mont-Saint-Michel and Chartres by Spencer Dew
Samuel Johnson said that reading is the primary task of any writer. In the process of writing, one works through “half a library to make one book.” With Mont-Saint-Michel and Chartres I worked through one book to make one book, offering the story of a woman who, returning to Toronto on the occasion of her mother’s death, seeks refuge in the Henry Adams book of the same name. Her reading is an escape, a retreat, as she says about her decision to stay in some tourist hotel instead of her mother’s flat or with her friends. She’s turning to Adams’ experiment with feeling the 13th century—its aesthetic, its values, its worldview—as a coping mechanism, a kind of elaborate denial, even as, simultaneously—inevitably—she’s revisiting her childhood, coming to terms with her mother’s death and, to an extent, her own mortality. My method was a template from Kathy Acker, though Acker would likely say it was a template from Cervantes and be right. Her Don Quixote was on some line of plot “about” a woman who took refuge in Cervantes’ Don Quixote while waiting for an abortion. I wanted to take that framework—which I also assume, as with Doctor Johnson’s truism, to be commonplace, a standard human action and experience—and push it, see how it might feel in a prose and a vision of human reality that is a bit different from Acker’s.
Gorgeously produced—with illustrations on transparent overlays and a tiny blue build-your-own model of the cathedral—by the design team of the indie publishing house, record label, and microzine maker Another New Calligraphy, Mont-Saint-Michel and Chartres engages the Adams text with the same kind of sympathy he brought to his tour of French cathedrals. Adams writes, “We have set out to go from Mont Saint Michel to Chartres in three centuries, the eleventh, the twelfth, thirteenth, trying to get, on the way, not technical knowledge; not accurate information; not correct views either on history, art, or religion; not anything that can be useful or instructive; but only a sense of what those centuries had to say, and a sympathy with their way of saying it.”
Meg, the narrator, knows some basic background on Henry Adams. She knows about The Education, for instance, and that it neglects to mention his wife’s suicide. In earlier drafts I had her make explicit mention of his vitriolic Jew-hatred, but this I later cut because, while Meg still shows frustration at Adams—his hunger for an over-arching theory, for instance, or the various half-baked claims that he fires off, from the hip, as a result—I was more invested in getting across that his Chartres, despite its warts, a beautiful and haunting book, a useful book in its own right, a portable slice of the grand tour for all us “nieces” here in the States who might not have the time or finances or frame of mind to go and see as Adams saw, to think—however lunatic and sometimes offensive, but always, nonetheless, enthusiastic, infused with wild energy—as he did.
Adams saw his audience as “of English blood and American training,” possessed of a “scientific mind” that has “atrophied, and suffers under inherited cerebral weakness, when it comes in contact with the eternal woman—Astarte, Isis, Demeter, Aphrodite, and the last and greatest deity of all, the Virgin.” It is notable, then, that Chartres was imagined as a letter to “nieces” back in the States, young women early in their formal education and, perhaps, already, by nature, in touch with what he saw as a central concern of his study. “The study of Our Lady, as shown by the art of Chartres, leads directly back to Eve, and lays bare the whole subject of sex.” For Adams, this “subject of sex” concerns the symbolic role of Mary—a church designed to honor the Queen of Heaven is necessarily constructed so as to affirm political concepts, the majesty and authority of the divine mirrored in human monarchy, for instance—and while his examination of religious discourse reveals the inherent human politics thereof, he doesn’t push too far, or think too critically, about what he’s reporting back to his “nieces.” Obviously, readers today will take observations a step or two further, and it intrigued me to imagine a contemporary “niece” trying to cut through the bluster and misogynist arrogance of this book and delve into the meat of what Adams was saying.
Adams, throughout his book, contrasts artists with everyday folk, though this dichotomy seems to me to be set up only to be viscerally broken down. “The rest of us cannot feel; we can only study,” Adams writes, but, of course, in his “study” there is deep and overwhelming feeling. He speaks of artists experiencing “the revival of archaic instincts,” but he is clearly reviving some of these instincts himself, and—more interestingly, to me—he seems to intend his text to do the same on and for his readers. Wandering through this book, I take Adams to be saying, will make you something of an artist, will rekindle sparks of spirit that the modern world, via various systems, has more or less erased. Thus, the book invites readers to consider its own function and afterlife—reading Chartres, one imagines how other people have or will read it, how it will affect them. Which is what I did, in this book.
Official Spencer Dew Web Site
Official Another New Calligraphy Web Site
Tags: Another New Calligraphy, Henry Adams, Mont-Saint-Michel and Chartres, Spencer Dew
This entry was posted on Saturday, November 20th, 2010 at 1:05 am and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
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How secure is WordPress as compared to other CMS?
The content management systems (CMS) like WordPress have made the creation and management of websites and blogs very easier. WordPress, Drupal, and Joomla are currently the top content management systems out there. These systems provide some tools to help you build websites. These tools are different for every platform, having their pros and cons. But WordPress is the leader among these, being used by more than one-third of the total websites on internet.
However, security is still a big concern for all the websites today as cybercriminals are getting advanced and finding new tricks for attacks. So, if you are looking for a CMS which provides the best security, this blog is for you. We have compared the security practices implemented and used by these platforms. Here we go.
1. WordPress
A brief:
WordPress is a free and open source CMS which has been in the market since 2003. Big brands like Sony Music, TechCrunch, Bloomberg, Facebook Newsroom, Microsoft Newsroom, and Mozilla blog are using WordPress to power their website/blog.
It provides plugins and themes for blog setup and then easily adding several functionalities to the site.
How secure is WordPress?
There is a dedicated core team to manage the security of WordPress and the plugins and themes available on the platform. The leadership, technical, and software development teams of WordPress are always there to find, identify, and fix the security bugs and issues.
Whenever a new bug or vulnerability is found, the teams take things on priority to patch the issues and release an update. That is the reason WordPress keeps on asking users to always remain up to date. Their aim is to keep users secure.
To help users with WordPress security practices and tips, there are numerous portals that provide resources, explanations, tutorials, etc., such as how to update WordPress, change password and username, why to do these things, and more.
WordPress also allows users to enable an auto-update feature that can update the sites whenever a new version is available. Furthermore, the security can be made stronger by using the right plugins, enabling two-factor authentication, taking regular backups, etc.
What are the negatives?
Since it is the most popular CMS in the market, the attackers are always looking for new vulnerabilities to hack websites and blogs.
If users do not update to the latest WordPress version, the websites remain vulnerable and can be hacked.
Since third-party developers are also allowed to publish their themes and plugins on the platform, sometimes it can be risky for users because not every individual has good intentions or do not apply best security practices. Although the WordPress team keeps a track on these things, but sometimes such things can go missing.
If a plugin or theme is compromised by hackers, they can target the entire website.
NOTE: You need to secure your computer as well in order to prevent hackers from accessing your valuable data. And using VPNs is essential in terms of securing your data. You can use various VPNs like IPVanish, Nord VPN, Express VPN etc.
2. Joomla
Joomla is also free and open source platform that came into action in 2005. It is currently powering more than 5.3% of the websites. The team behind this platform has used object-oriented programming to build it, along with software development patterns to provide several features like blogs, search, RSS feeds, news flashes, caching, and more.
How secure is Joomla?
There is an active community dedicated to managing the security of Joomla. To provide its users the resources and best practices to keep their websites secure, Joomla has an extensive and comprehensive documentation. This documentation includes a lot of best practices such as backing up the Joomla site, using security extensions, protecting admin account, using proper file permissions, keeping everything up to date, etc.
While the entire platform is built on secure code, but it needs users to enable and apply the things in a right manner. There is no feature for automatic updates.
The security team behind Joomla is very smaller as compared to WordPress and Drupal. The contributors to the platform are unpaid volunteers, which means they are not paid to manage the platform.
Users have to go through the extensive documentation to keep themselves informed and learn things on their own.
3. Drupal
Being launched in 2000, Drupal is the earliest player in the CMS market. It is also free and open source and is powering around 3.5% of the websites today. Drupal Core, the standard release of the platform, comes with several features like RSS feed, menu management, customizing page layouts, system administration, maintenance, account registration, and more. It generally works better with high performance web hosting.
How secure is Drupal?
Drupal has a dedicated security team like WordPress to fix the reported vulnerabilities and issues. This security team also gets in touch with the users to help them maintain security for their sites.
There is a comprehensive documentation available for the users to learn everything about the platform, like how to manage security, right practices, installation tips,securing the Drupal site, and more. Drupal team is active on Twitter to reach the users more effectively, and also has security announcement portal which can be subscribed by users to get informed instantly about any issue or security update.
Like Joomla, when it comes to maintenance of the platform, Drupal is also maintained by an open source community of developers and contributors.
Many security experts have found and agreed that the core code of Drupal is lesser secure than that of WordPress. That is the reason around 309 security vulnerabilities have been detected since the start of Drupal. Whereas, WordPress has faced 240 vulnerabilities since its inception.
End note:
We have listed both the positives and negatives of the top CMS platforms in terms of security. You will find that every platform has its own share of vulnerabilities as well as positive things. It can’t be said in a single judgement which one is the most secure.
If you want to use one of these platforms, then it would be better to apply the best security practices, while understanding the needs of the platform.
Which CMS do you think is the most secure?
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Nadif Chowdhury
33 4 48 64 3 2/17 8 0
Nadif Chowdhury was just 19 when he made his first appearance in Bangladesh colours, in their first Twenty20 match, against Zimbabwe in November 2006. Bangladesh won the match but Nadif did not make much of an impact, hitting just 10. A compact right-handed middle-order batsman who also bowls left-arm orthodox, Nadif went back to the domestic circuit and was part of the Bangladesh Cricket Board Academy side that played England A in February 2007. A decent run with Barisal Division and the Under-19s earned him a spot in the Bangladesh side for the Twenty20 World Championship in South Africa.
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It's been another great year for BMW at the What Car? Car of the Year Awards 2020, winning several of the major awards: Executive Car of the Year, PHEV of the Year, Luxury Car of the Year, and the Safety Award.
Once again, the BMW 5 Series took home the Luxury Car of the Year Award. What Car? said, “The BMW 5 Series has been our favourite luxury car since the seventh-generation model was released in 2016, because it’s a consummate all-rounder... its feature-packed, user-friendly infotainment system is light years ahead of everything else.”
The BMW 330e M Sport enjoyed double success, picking up both the Best Plug-in Hybrid Car and Best Executive Car of the Year awards. What Car? said, “The astonishing BMW 330e is not only the best plug-in hybrid you can buy, but the best executive car full stop. It slickly integrates the latest green technology with the long-held wants and needs of people shopping in this class.”
Adding to this success, the BMW 3 Series also received the What Car? Safety Award. What Car? said, “The BMW 3 Series is a great all-rounder when it comes to safety… not only is it excellent at protecting adult and child occupants, but it has also been successfully designed to minimise the injuries it would cause to vulnerable road users in an accident and its active safety systems are among the best around.”
Discover more about the BMW 3 Series and/or the BMW 5 Series.
MORE BMW SUCCESS.
Team BMW won several other awards on the night. These included the Best Family Car (above £26,000) for the BMW 1 Series 118i M Sport Auto, the Best Estate Car (above £30,000) for the BMW 5 Series Touring 520d SE, the Best Luxury SUV (above £70,000) for the BMW X7 xDrive30d, and the Best Luxury Car (between £40,000-£60,000) for the BMW 6 Series Gran Turismo 630d SE.
Find out more about your perfect BMW model by downloading a brochure today.
TWO GUINNESS WORLD RECORDS™ AWARDED TO THE NEW BMW M5.
BMW M5 sets Guinness World Records for the longest drift in eight hours and the longest twin-vehicle drift.
TRIPLE SUCCESS AT AUTO EXPRESS NEW CAR AWARDS 2019.
BMW has enjoyed great success at the Auto Express New Car Awards 2019, winning in three categories.
#AWARDS
#SALOON
#WHAT-CAR
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Logging in tropical forests: not all is lost
http://blog.cifor.org
Manuel Guariguata
Author e-Mail:
http://blog.cifor.org/9231/logging-in-tropical-forests-not-all-is-lost/#.T9opV8WuoYB
Logging of Tropical Forests Needn't Devastate Environ...
Reducing biodiversity impacts from logging in Guyana
Biodiversity paradigm questioned after flaws found in logg...
Logging, tropical forests and biodiversity — what we don’t...
Carbon Impacts from Selective Logging of Forests in Berau...
Primary forests are irreplaceable for sustaining tropical...
What we can do for you...
We can provide a complete support program for your needs in sustainable forest management:
As tropical forests give way to cities, roads and soybean fields, what’s left behind is a collage of forest remnants and ‘secondary’ forests that regrow after agricultural lands are abandoned. While protecting primary forests will always be essential for tropical conservation, these mosaic landscapes do retain a substantial proportion of forest species, even where forest products are extracted. Researching the impacts of timber harvesting on tropical forest plants and animals has kept ecologists busy over the past three decades. The question of just how much selectively logged forests contribute to global biodiversity conservation remains poorly analysed, and essentially, unanswered. But two recent meta-analyses of previously published research provide fresh evidence that selective logging, if carefully done, has relatively benign impacts.
In an article appearing in the journal Conservation Letters, Putz et al. (2012) found that, across a sample of 109 studies, the impacts of selective logging on the number of bird, mammal, insect and plant species were very modest overall. And good harvesting practices were not employed in most of the analysed cases, suggesting that their results are conservative. On the basis of 35 studies, the article by Gibson et al. (2011) in the journal Nature similarly reports that the impacts of selective logging on primary forest biodiversity are relatively small. Gibson and colleagues reinforced these conclusions by eliminating the ‘drawer effect’, i.e. the tendency to publish only when significant results are obtained.
There are some obvious flaws in the analyses: although meta-analyses are well-known statistical tools used to elucidate trends among a disparate set of studies with different experimental approaches and methods, the results are inevitably a caricature of reality. Studies from African forests are largely underrepresented in both articles. The number of trees harvested (the logging intensity) also varied considerably amongst published studies, as did logging techniques. And most of the published studies were of short duration, making it impossible for these meta-analyses to comment on long-term consequences.
Despite these shortcomings, both articles provide compelling evidence that selectively logged tropical forests across the globe are critical for conserving the full spectrum of biodiversity — from beetles to orangutans. The question is whether or not the long-term persistence of forests can be guaranteed solely on the basis of profits from timber, so that sustainable forest management is competitive compared with other market forces like agro-industrial expansion. The results of the article by Putz and colleagues (2012) seem to indicate ‘not’; timber yields are expected to decrease over time because the 20–40 year logging intervals currently applied across the tropics cannot guarantee a constant supply of wood with attractive financial returns.
To help counter this trend, Putz et al. (2012) suggest a mixed strategy. One essential step is further promotion of sustainable timber harvesting practices, as these are directly linked to more forest carbon being retained, for which financial compensation might be available through REDD+ incentives. They also recommend increased recognition of locally based approaches to multiple-use forest management under clear land tenure arrangements. Other viable options include enhancing the financial benefits from forest certification, and making assurance of legality a prerequisite for international market access. The key to success is achieving the right balance across these approaches, so that climate, biodiversity and people all benefit, and the multiple demands for tropical forest resources are satisfied. With nearly 400 million hectares of tropical forest officially designated for production purposes worldwide, one could say that there is plenty of room to play.
Nachhaltige Forstwirtschaft
Nachhaltige Waldwirtschaft
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zhangzk Offline
#1 Look at recent champions like the New England Patriots Antworten
The NFL is not the NBA or NHL Rock Ya-Sin Jersey , where you can simply throw money around at star players to win world championships. Baltimore Ravens, Denver Broncos, Philadelphia Eagles and Seattle Seahawks - you need to hit the jackpot time and time again in the draft to win in today's NFL.That's really what an NFL team's success (or lack thereof) comes down to. The Cleveland Browns, Oakland Raiders, Miami Dolphins and New York Jets wouldn't be such lousy teams if they didn't waste the bulk of their first and second-round draft picks.It's not all about draft positioning http://www.coltscheapshop.com/cheap-authentic-ben-banogu-jersey , but rather how you use those choices. Some of Seattle's core players were drafted after the first two rounds, including Russell Wilson and Tyler Lockett. Fans don't need reminders of when Tom Brady was taken, either.Here, we're taking a look at some recent draft picks and determining their respective statuses: Are they looking like big-time busts? Are some of them late-round gems? Or are some of them on the fence and facing make-or-break years in 2019?On this list, we decided to keep it strictly within the years of 2015 to '17. Obviously, it's too early to tell which 2018 draft prospects will be stars. As for players drafted back in 2014 or earlier Parris Campbell Jersey , we know have a firm idea if they're stars, busts or simply somewhere in between.Now, a look at 21 recent draft picks, with seven appearing to be busts, seven purely steals and seven of them on the fence. Life for young NFL players isn’t always easy. Many players go from being the stars of their university, to being an embarrassment on their team. With the level of competition being lower in college football http://www.ravenscheapstores.com/miles-boykin-jersey-cheap , it makes it easier for the better guys to succeed. It’s just a different game, even if they are the same sport.In college, there are more players available to play on game day, the plays may be a little bit different, and the talent is nowhere near of what NFL players are like. Many college offenses move a lot faster than NFL offenses do, which make it easier for offensive players to succeed because many defenses struggle to stop the momentum. Also http://www.coltscheapshop.com/cheap-authentic-bobby-okereke-jersey Jersey , with having more players available to play, it allows many players to rest more in a game. Whereas in the NFL, there’s not much rest. They want you out there contributing, and if not, it’s not the sport for you. Not to mention, the talent that some of the best college football players play is below average.When you look at a college football team’s schedule Noah Fant Jersey , it’s usually fairly easy. The best teams in the NCAA pay smaller schools to play them, that way they can get an easy win, and “develop” players. Not in the NFL. Even the worst teams in the league have a lot of talent. It’s just such a different game, and it takes a lot of adjusting once you reach the professionals. Some young players just need to find a new team, while others will have no luck improving.
«« https://www.dragonsdendiet.com/alpha-femme-keto/
The Detroit Lions have invested a lot in tight ends »»
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Cinema Reviews
Review: Night School
By Steven 23rd October 2018 3 Mins Read
DIR: Malcolm D. Lee • WRI: Kevin Hart, Harry Ratchford, Joey Wells, Matthew Kellard, Nicholas Stoller, John Hamburg • DOP: Greg Gardiner • ED: Paul Millspaugh • DES: Keith Brian Burns • PRO: Kevin Hart MUS: David Newman • CAST: Tiffany Haddish, Kevin Hart, Taran Killam
“Pubes and racism”
This dialogue, prompted by an uncomfortable and farcical exchange at a fancy restaurant, captures the essence of Night School in a nutshell. It is a film made up of silly scenarios patched together to tell the story of Teddy Walker, top salesperson at BBQ City and boyfriend to financially independent and high-flyer, Lisa. Teddy must attend night school, where he encounters an ensemble of misfit adult-classmates, a no-nonsense teacher and a school principal with whom he has a troubled history, to pass the GED exams he failed to sit as a teenager. The narrative unfolds with a light, but deliberate eye on racist behaviour and prejudices.
Malcolm D. Lee’s follow up to Girls Trip begins in Atlanta, 2001, as a teenage Teddy defiantly refuses to take his exams in an apparent act of nonconformity. Fast-forward to the present day and Teddy’s inability to obtain any qualifications has not hindered his success or happiness. That is until, following a series of misfortunes, he finds himself unemployed and thus, jeopardising his future with his girlfriend Lisa. Unbeknownst to her, he enrols in a night school so that he can pass his GED and qualify for a new job that will allow him to live the life of abundance that he has been masquerading to her.
It becomes apparent early on that the narrative relies upon Teddy misinterpreting the nature of his own relationship with Lisa as he feels incapable of sustaining it without playing the role of provider. He demonstrates elements of fragile masculinity as he attempts to hold on to an outdated understanding of gender roles. This compromises the credibility of the relationship, a crucial component for the film’s narrative to function. Additionally, the relationship loses prominence in the film’s narrative, coming secondary to Teddy’s experiences at night school, therefore rendering his reason for enrolling in it virtually immaterial. The narrative is taken over by episodic sequences which are largely played out for their own sake as opposed to contributing to the narrative.
Carrie, Teddy’s tough-love teacher, plays well in contrast with the protagonist. She is introduced as a potential sparring partner for Teddy as they first encounter each another side-by-side at traffic lights. Carrie’s willingness to take him into her class after their initial encounter is an incompatible act when compared with her character’s previous behaviour. There is a lack of consistency in this character as her point-of-view seems to fluctuate throughout the film. However, she provides a much-needed grounding in the midst of the off-the-wall night-school students and her investment in Teddy’s learning potential is vital for the narrative to advance, in spite of it seeming unlikely.
In a film that strives on a series of wholesome hijinks, Teddy’s attitude and actions makes it challenging to be on his side. Perhaps being sandwiched between two strong, female characters makes it difficult to root for Teddy as the film’s protagonist which, all-in-all, is a positive complaint to have.
Overall, Night School is full to the brim of gags and goofy antics but a lack of empathy for the characters whose motivations are inconsistent and sometimes flawed means that the comedy is not always effective.
Siomha McQuinn
12A (see IFCO for details)
Night School is released 28th September 2018
Night School – Official Website
Night SchoolReviewSíomha McQuinn
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AMERICAN BANKS : THE TRIUMPH OF LOW EXPECTATIONS / THE ECONOMIST
| Etiquetas: Banks And Banking, U.S. Economic And Political
American banks
The triumph of low expectations
A world of low growth, risk aversion and regulatory uncertainty
“IT COULD have been worse” was the common refrain as American banks began reporting their second-quarter earnings. Indeed, the striking characteristic of the returns was their consistency. Big and small, local and national, lenders across the country have been benefiting from some common tailwinds. Legal settlements are becoming sparser; the economy is expanding, albeit feebly, and the housing market is recovering; auditors are pushing banks to keep releasing loan-loss reserves; and actual losses are trivial.
But avoiding disaster is not really cause for celebration. Consumers continue to shed debt; companies carry ever more cash. Banks’ pre-provision revenue growth is muted (see chart 1), and there has been no recovery in loan growth of the sort seen after previous recessions (see chart 2).
This is so unusual that it may be unprecedented, says Michael Mayo, an analyst at CSLA, a securities firm, and it hardly suggests a good prognosis for the banking system. He predicts that the current decade will show the worst revenue growth for banks since the 1930s. Pricing and margins will inevitably tighten as a result.
In as much as borrowing activity has shifted from banks’ balance-sheets to the capital markets, some have benefited. The investment-banking arm of perpetually troubled Citigroup did well in the second quarter, as did the investment-banking arm of infrequently troubled Goldman Sachs. Underwriting and advisory revenues rose at both firms. Goldman reaped large gains from its own investments.
But Goldman’s return on equity was still barely in double digits. Its headcount is shrinking, not expanding. That is typically the single best indicator of an investment firm’s perspective on its prospects. Citi’s return on equity was well below Goldman’s, at 6.5%. Investors will not tolerate that sort of performance for ever. A major source of Citi’s revenue is in emerging markets, where conditions are deteriorating.
The likelihood that the overall banking environment will improve in the near future is low. Recent rises in interest rates, prompted by expectations that the Federal Reserve will start slowing the pace of asset purchases, will take a toll on mortgage refinancing, a source of revenue that has produced great gobs of money for banks in recent years. It is probably no coincidence that share prices for most financial institutions have flattened in recent weeks.
Regulators and politicians are still trying to suppress banks’ risk appetite, not whet it. American financial institutions are already expecting to hold more risk-weighted capital in order to conform with the international Basel 3 standards. Worried by the potential for banks to game the calculations that underpin these same risk weightings, regulators this month proposed a higher “leverage ratio”, a blunter measure of capital that reflects the overall size of a bank’s balance-sheet as well as its riskiness. The proposal calls for a 5% leverage ratio at the holding-company level, and 6% at the level of the bank, for the eight largest banks: Bank of America, BNY Mellon, Citigroup, Goldman Sachs, JPMorgan Chase, Morgan Stanley, State Street and Wells Fargo.
The new numbers will require institutions to fund themselves with more equity, further diluting returns (at least in the short term). Although the notion of a strict capital ratio has its detractors, it has a good chance of being instituted, says Michael Poulos of Oliver Wyman, a consultancy, if only because it is simple. But by increasing the cost of funding for the big institutions, he warns, the rule may push them away from safer, low-priced products and towards riskier, higher-margin ones.
Bankers have not reacted vocally to the leverage-ratio proposal. That may be because they feared even harsher limits, or because they are keeping their powder dry for other fights. Lawmakers continue to circle the industry.
In April two senators, Sherrod Brown and David Vitter, introduced a bill that would require the largest banks to increase their equity capital to 15% of assets. It was loudly applauded, and subsequently quietly ignored. On July 11th four senators proposed bringing back a version of the Glass-Steagall Banking Act of 1933 that separated commercial banking from investment banking. This idea has also garnered lots of praise and is also likely to be ignored, if only because of the practical difficulties involved.
Even if these legislative proposals go nowhere, the regulatory environment is poised to become tougher with the Senate’s approval on July 16th of Tom Perez as secretary of labour and Richard Cordray as head of the Consumer Financial Protection Bureau (CFPB). In his prior position at the Department of Justice Mr Perez was an influential advocate of the principle of “disparate impact”—the idea that lending policies can be discriminatory because of their outcomes, even if there is no intent to discriminate. His approval is a congressional endorsement of uneconomic lending.
Mr Cordray’s appointment unlocks broad powers for the newly established CFPB, including the ability to investigate and regulate the price and scope of financial products under a new and undefined “abusive” standard. Senate Republicans had vowed to refrain from approving Mr Cordray until changes were made to the CFPB’s underlying structure, so that less power was concentrated in a single director and its budget was made subject to congressional approval. Whatever concerns they had were abruptly waived. Perhaps, like many of America’s banks, they concluded that however bad things are, they could always be worse.
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Nabard: rural india’s all round assistance provider
Hiralal Jana and Debabrata Basu
The National Bank for Agriculture and Rural Development (NABARD) was set up in July, 1982 following after the recommendations of the "Committee to Review Arrangements for Institutional Credit for Agriculture and Rural Development". All major issues related to rural credit until then dealt with by the RBI and the Agricultural Refinance and Development Corporation moved under the control of NABARD. NABARD thus emerged as the apex institution to play a pivotal role in the sphere of policy planning and providing refinance facilities to rural financial institutions. NABARD also administers the Rural Infrastructure Development Fund (RIDF), which was set up in 1995-96. NABARD has also been playing a catalytic role in micro-credit through the channel of Self-Help Groups (SHGs). The National Bank for Agricultural and Rural Development commonly known by the acronym NABARD is a leading development oriented bank in India, which has its headquarters in Mumbai, the country’s financial capital. With branches all across the country dedicated to improving the lot of the rural populace, the bank is expected to play a key role in ensuring development and implementation of the government’s financial inclusion policy. To that effect, this leading rural development bank has joined hands with the broader Alliance for Financial Inclusion. The vision of NABARD is to play a leading role in a range of matters that deal with policy, planning as well as operations that are related to the broad area of agriculture credit. Another key role of NABARD is to provide financial assistance to various areas apart from agriculture to spearhead the development of villages in India through financing of key economic activities.
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Home>Award Winners > Dixson, Kalen
2010 All Star/West
Kalen Dixson
6’2" 185
High School Coach: Nathaniel Williams
High School, Class: Flint Carman-Ainsworth, A
College: Undeclared
Kalen was a starter for the Carman-Ainsworth Cavaliers his senior year, playing the position of wide receiver. As a senior Kalen had 32 receptions for 629 yards and 9 touchdowns and in the process, broke three records: most receiving yards in a game, most receptions in a season and most receiving yards in a season. Kalen was First Team All Conference and helped the Cavaliers clinch the Big 9 Conference title.
Kalen also ran track for Carman competing in the 100 M and 200 M dashes and the 4x100 M relay.
Kalen first thanked, "God for his gifts, talents and athletic abilities. He also thanked his parents, "for all their love and support throughout his high school experience." He especially thanked his "older brother for his guidance in regards to the sport of football, for modeling the dedication and the toughness it takes to be successful and to achieve record setting goals." Kalen also thanked his family and friends for their support. Finally, he thanked his Carman-Ainsworth Football Parents Club, teammates and coaches for "helping to make the past football year the best ever".
All Big 9 Conference 1st Team Receiver, 2009
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TN Tea Parties Dealings With the IRA (a roundup of recent stories)
Roane County Tea Party (in the News Sentinel)
Gary Johnston thought the questions the Internal Revenue Service was asking seemed overly intrusive, even for an agency known for being irritatingly meticulous.
When he showed the federal tax agency’s demands to an accountant, her response confirmed his suspicions. “Her first question was, ‘Who did you make angry?'” Johnston recalled. “She said, ‘There is something wrong here. A lot of these questions are illegal.'”
Johnston feels absolutely certain that his organization, the Roane County Tea Party, was one of dozens of conservative groups the IRS has admitted to singling out for extra scrutiny when reviewing their applications for tax-exempt status. Today and Friday, he will be in Washington with other tea party officials from across the country to draw attention to their tangles with the tax agency.
Johnston said it took the Roane County Tea Party roughly 37 months to be granted non-profit, tax-exempt status — a process that normally should have taken about four months.
A few months after he submitted the paperwork in 2009, Johnston, the group’s co-chairman, got a package from the IRS demanding answers to roughly 80 questions.
Full story, HERE.
Chattanooga Tea Party (from Times-Free Press)
The IRS subjected the Chattanooga Tea Party to “unnecessary” questioning and “significant processing delays” in the group’s request for nonprofit status, according to an inspector general’s report and documents obtained by the Chattanooga Times Free Press.
The federal agency’s foot-dragging delayed the Chattanooga Tea Party’s request to be tax exempt by more than three years and two election cycles. The group was among dozens singled out by the IRS because of their titles and perceived political leanings, putting a local face on a scandal sweeping the nation.
Among dozens of questions in two separate inquiries, the agency requested Chattanooga Tea Party Facebook screen shots, meeting minutes and video recordings.
Additionally, nearly three years after the local group formed, the IRS demanded “copies of all hand-outs distributed, phone calls, emails … conversations, reactions of speakers, etc.” of monthly Chattanooga Tea Party meetings “from inception to present.”
Linchpins of Liberty (from WSMV)
A local conservative group is one of many claiming the IRS targeted them for political reasons.
Kevin Kookogey, founder of Linchpins of Liberty, says the IRS delayed his group’s application for tax-exempt status in 2011 because of his conservative affiliation.
The IRS apologized Friday for inappropriate “flagging” of conservative groups, including many with the words “tea party” or “patriot” in their names.
Kookogey said Monday that after waiting for months he was told his application had been delayed while agents waited for guidance from superiors on how to handle his group and similar organizations.
“Almost exactly eight weeks later I got the same letter that hundreds of other groups had gotten, asking for information that was well beyond the scope of the law or what the law would allow. That’s when the American Center for Law and Justice got involved,” said Kookogey.
The ACLJ is representing 27 groups targeted for special scrutiny by the IRS
This entry was posted in Tea Party and tagged conservative, harrass, internal, IRS, non-profit, party, revenue, service, TEA, Tennessee on May 17, 2013 by Tom Humphrey.
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Police Chief Resigns After Bulldozer Questions Raised
News release from state comptroller’s office:
Allegedly, it was supposed to be used to clear a field for a police firing range. But documents and other evidence reviewed by the Comptroller’s Division of Investigations suggest that a bulldozer owned by the town of Monterey ended up on the former police chief’s property wasn’t going to be used for that purpose.
The investigators’ findings were part of a report that was publicly released today.
Monterey town officials obtained the bulldozer in early June of last year through the state’s military surplus program. In an agreement with the military surplus office, the police chief said that the bulldozer would only be used for law enforcement purposes and would not be leased to others, sold or otherwise disposed of by the town.
According to interviews with officials who were working for the town at the time, when the town received the bulldozer from military surplus, it was transported directly to the police chief’s property so a blade could be attached. The bulldozer was later moved back to town property after questions arose in a public meeting regarding its location.
A lease signed by the town’s former mayor and the former police chief seemingly explained the delivery and presence of town equipment on private land owned by the police chief. That lease document was not created until after citizens had made inquiries about why the bulldozer was on the property.
Investigators determined that the lease had been backdated to show that it was executed before the bulldozer had been delivered to the town. The lease was not actually written until five days after the bulldozer had been removed from the chief’s property.
Having town equipment on the former police chief’s private property without a valid contract in place exposed the city to unknown and potentially unlimited liability for any damages that could have occurred.
The police chief has resigned from his post.
Investigators also found that town officials improperly used a vehicle seized by law enforcement and kept an abandoned vehicle they were required by law to sell at public auction.
“Just as it is important to guard against fraud, waste and abuse of public money, it is important to prevent publicly-owned equipment and items from being used for personal benefit,” said Comptroller Justin P. Wilson. “It did not appear from what our investigators found that the bulldozer was being used for the public purpose that Monterey town officials said it would. I encourage citizens who believe they have information about fraud, waste or abuse of public funds or public property to contact our toll-free hotline at 1-800-232-5454.”
To view the full report online, go to: http://www.comptroller.tn.gov/ia/
This entry was posted in Comptroller, law enforcement, local government and tagged bulldozer, chief, comptroller, monterey, police, property, resigns, surplus, Tennessee on June 12, 2013 by Tom Humphrey.
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The new study was authored by a team of doctors battling a major outbreak of COVID-19 in the northern Italian city of Pavia.
Reporting in the April 17 online edition of the New England Journal of Medicine, the authors said that between Feb. 28 and March 21, three hospitals in the region treated about 1,200 patients with COVID-19. Five of those patients displayed symptoms most likely caused by Guillain-Barre, the team said.
Symptoms of Guillain-Barre tended to arise within five to 10 days of the first onset of common COVID-19 symptoms, the researchers said. These first Guillain-Barre symptoms included weakness in the legs, tingling and facial weakness. Within another two days, neurologic symptoms got worse until all four limbs were weakened or paralyzed, the Italian group said.
All five patients received immune globulin therapy to boost their immune response to the coronavirus, and one patient was treated with the antibody-rich blood plasma of a COVID-19 survivor.
A month into treatment, "two patients remained in the intensive care unit [ICU] and were receiving mechanical ventilation, two were undergoing physical therapy because of flaccid paraplegia and had minimal upper-limb movement, and one had been discharged and was able to walk independently," according to the report.
Dr. Sami Saba is a neurologist at Lenox Hill Hospital in New York City. Reading over the findings, he agreed that "many infections can be triggers for Guillain-Barre syndrome, so it is not entirely surprising that we are seeing cases associated with the novel coronavirus."
Saba stressed that because many ICU patients with COVID-19 are sedated and on mechanical ventilation, it's tough to even tell if their limbs are functioning as they should.
"In those cases, weakness and sensory loss can be very difficult to identify if they are not awake, moving their limbs, or able to tell you what they are experiencing," Saba said. "However, since Guillain-Barre can affect the muscles that help us breathe, it will be very important to consider the diagnosis in those who have trouble coming off the ventilator, especially if their lung function looks to be recovering."
For his part, Geraci stressed that Guillain-Barre remains quite rare -- just five cases out of 1,200 in this new study. He agreed that a variety of tests are needed before a firm diagnosis of the syndrome can be made.
Head to the U.S. National Institute of Neurological Disorders and Stroke for more on Guillain-Barre syndrome.
SOURCES: Anthony Geraci, M.D., director, neuromuscular medicine, Northwell Health Neuroscience Institute, Great Neck, N.Y.; Sami Saba, M.D., neurologist, Lenox Hill Hospital, New York City; April 17, 2020, New England Journal of Medicine, online
‘I Knew I Had Hurt Myself Pretty Badly,’ Says Yoga Instructor
Brachial Neuritis
Cervical Disk Replacement Surgery
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Browse through our Interesting Nodes on Tourism & Recreation in Greece
No. 17/18 24.01.18
[01] AKP's and Turkey's involvement in the attack against Afrika is evident
[02] Akinci met with the "police chief" due to Monday's incidents in front of Afrika newspaper and the "parliament"
[03] Cakici supported Turkey's operation in Afrin and strongly condemned the attacks against Afrika
[04] Peace and Democracy march to be held next Friday
[05] Ozgurgun was "assigned with the task to form a government"
[06] Talat commented on Afrika newspaper attack and asked for the immediate dismissal of the "police chief" in the occupied area of Cyprus
[07] "Loss of hope for a solution in Cyprus to determine fate of talks"
[08] US delegation in Ankara after Turkey's Afrin operation
[09] Turkish Government: Turkey's military operations to continue until 3.5 million Syrians return
[10] NATO 'acknowledges' Turkey's terror concern
[11] Erdogan speaks to Putin, Macron over Afrin operation; he will also hold a phone conversation with Trump
Under the banner front-page title "Organized affairs", Turkish Cypriot daily Yeni Duzen newspaper (24.01.18) reports that two persons were arrested during the attack against Afrika newspaper, but the "police" "filed accusations" against them and set them free. According to the paper, three members of the National Unity Party (Hamza Ersan Saner, Faiz Sucuoglu and Ahmet Sennaroglu) were embracing with the attackers after the attack. It is said that the two persons accused of "causing malicious damage" against Afrika and of climbing on the "parliament's" roof, were Ahmet Turkmen and Umit Tas, but the "police" did not confirm this information. It is alleged that Turkmen is head of the Communal Liberation Party's (TKP) in a neighborhood in occupied Famagusta and that Tas is employed as "temporary personnel" in occupied Famagusta's "municipality".
After the two arrested persons were released, the Justice and Development Party's (AKP) youth organization in the occupied area of Cyprus thanked the Turkish "ambassador" to Nicosia, Derya Kanbay and AKP's representative in the occupied area of Cyprus Mehmet Demirci for their help.
The release of Turkmen and Tas was announced by their friends through the social media. They also published photos of the two in front of the "police director's office" in the occupied part of Nicosia. Turkmen and Tas were also photographed with members of AKP's youth organization in the occupied area of Cyprus.
Moreover, Mehmet Ipek, chairman of the so-called brotherhood, solidarity and culture association of the settlers from Alexandretta (Hatay) area, was also among those who were throwing stones against Afrika newspaper. On the same day, Ipek participated in a reception held right after the incidents in front of Afrika at the "assembly" and was photographed together with Ersin Tatar and Olgun Amcaoiglou, both "deputies" with the UBP. In the past, the same person had shared photographs together with UBP leader Ozgurgun and the Turkish Prime Minister, Binali Yildirim.
Under the title "The duty is completed 'President", Turkish Cypriot daily Ortam newspaper (24.01.18) reports that after President Erdogan's order that "what is necessary must be done" to react against Afrika's article regarding the Turkish invasion in Afrin, AKP's youth organization, having the support of some civilian organizations and "municipalities", threw stones against Afrika, broke its windows and removed the paper's sign from its place. The demonstration was turned into a lynching operation with slogans such as "Allah is most great", "Recep Tayyip Erdogan" and "Sener exhausted our patience", notes the paper adding that when some "police officers" tried to prevent the members of AKP's youth organization from causing damage to Afrika, they were told that "our orders came from a high place, the orders you were given are not valid".
AKP's youth organization in the occupied area of Cyprus shared a picture from the protest against Afrika through the social media and sent a message to Erdogan by writing the following: "We have given the necessary reply to the traitors of the country. The duty is completed President. Afrika's signboard, which in no way represents the view of the TRNC's people, was brought down. We will be against any kind of traitors of the country who try to harm the bond between the motherland and the daughter land".
Turkish Cypriot daily Afrika newspaper's columnist Ali Osman reports, inter alia, the following in his column today (24.01.18):
"After the demonstrations against our newspaper and the parliament on Monday, I am following the social media. Those who have broken the windows of our newspaper and the signboards in front of the building were arrested by the police. What happened next? AKP's Cyprus Youth Organization kept a watch in front of the police headquarters until they were released! After they were released, a statement was made on the social media again. It was the following:
'Our two brothers, who had been taken under custody because of the action held against rag Afrika, were released during the night. In this process, we thank our Ambassador to Nicosia, our chairman Mehmet Demirci and especially AKP's volunteers who have been keeping a watch for hours in front of the police headquarters'.
What is there in this statement, you may say. We can openly and clearly see that the embassy of Turkey is behind the actions held against our newspaper and the parliament. This was not actually something secret. During the attack held against our newspaper, persons from the embassy of Turkey were watching the incidents being exceedingly happy. Anyhow, they were implementing the 'President's instruction. What they shared did not end here. A group, among which lawyers were also participating, declared as 'Ulubatli Hasan' those who had carried out the attack against Afrika upon the President's instruction and especially those who raised a flag on the parliaments' roof. I think that there is no one who does not know Ulubatli Hasan. He is the person, who they allege planted the Ottoman flag on Istanbul's towers. [�] This is the point to which we have come here. [�]"
According to illegal Bayrak television (24.01.18, http://www.brtk.net/?english posts=akinci-calls-police-chief-to-presidential-palace), Turkish Cypriot Mustafa Akinci met yesterday with the "chief director of police" Suleyman Manavoglu following Monday's incidents in front of Afrika newspaper and the "parliament". Akinci demanded that a detailed investigation be carried out and a report to be prepared.
According to a press release by Akinci's office, the meeting focused on the lack of security at the protests which led to damage at the daily's office as well as two protestors climbing to the top of the "parliament building" where they waved flags before being brought down. Akinci demanded that those responsible be detected and brought before justice as soon as possible.
Stating that the protests had grown out of control and become violent, Akinci said that the failure of the "police" to prevent this from happening was unacceptable. He added that necessary measures should be taken or put in place as to prevent the repetition of such an incident in the future.
Yesterday, all leaders of the 6 political partie, which met with Akinci as part of the ongoing "procedure to form a new government", expressed concern and disappointment over the incidents which took place at the protests.
Turkish Cypriot daily Afrika newspaper (24.01.18) reports that the leader of the Communal Liberation Party- New Forces (TKP-YG) Mehmet Cakici, in a written statement yesterday expressed support to Turkey's Armed Forces operation in Afrin, however, commenting on the attack against press organs in Cyprus after the statement made by Turkish authorities, Cakici said that they were wrong and dangerous.
(�)"As a party which supports the freedom of press, we strongly condemn the attack against Afrika newspaper and we find the attacks as wrong and separatist", Cakici said, adding: "The attacks THAT took place in Afrika newspaper are not a protest action; it is an attack aiming to shut them up. This attack is at the same time an attack against the freedom of the press, the freedom of speech and democracy. We will continue supporting and promoting with our stance the efforts for peace, democracy and freedoms of speech and press in the country".
Turkish Cypriot daily Afrika newspaper (24.01.18) reports that a "Peace and democracy march" will be held next Friday afternoon in the occupied part of Lefkosia.
The march is organized by the "Platform of trade unions" as a reaction to the attacks against Afrika newspaper and the events took that place in the so-called parliament against CTP "deputy" Dogus Derya.
Under the title "The duty was assigned to Ozgurgun", Turkish Cypriot daily Havadis newspaper (online, 24.01.18, https://www.havadiskibris.com/gorev-ozgurgunde/) reports that "Turkish Cypriot leader Mustafa Akinci, during his meeting today with the leader of the National Unity Party (UBP) assigned him with the task of forming a government" in the occupied area of Cyprus.
Following the meeting with the political parties, Akinci announced that "the process of establishing a government has started".
Furthermore, according to illegal Bayrak television (online, 24.01.18, http://www.brtk.net/?english posts=ozgurgun-assigned-task-of-forming-government),
Ozgurgun said that "he will try to form a strong government that will serve the interests of the public but should he fail to do so he will be handing back the duty to the president".
Meanwhile, Havadis (24.01.18) reports that the political parties CTP (Republican Turkish Party), HP (People's Party), (Social Democratic Party) and Democratic Party (DP) made a surprise statement after their meeting. They asked from Akinci to assign the task for forming a government to Ozgurgun as is established practice. However, it is reported that the political parties CTP, TDP and HP reiterated that they will not be engaging in coalition talks with the UBP. It was also announced that a progress was made during their meeting but they are not ready yet. The four leaders of the political parties will meet again today at DP headquarters.
Under the title "All the cards are up to Denktas' sleeve", Turkish Cypriot daily Detay newspaper (24.01.18) refers to all the above developments of "forming a government".
Turkish Cypriot daily Star Kibris newspaper (24.01.18) under the title: "If I had the right today I wouldn't vote for AKP" reports that the former Turkish Cypriot leader and leader of the Republican Turkish Party (CTP) Mehmet Ali Talat, in statements to a televised program broadcast by Ada TV, claimed that the Justice and Development Party (AKP) at the beginning when it came to power was supporting the solution of the Cyprus problem. "I would have vote in favor of this AKP. But if I had the right today, I wouldn't vote for it. We cannot wait for the Cyprus problem for another five years. Anastasiades caused disappointment. He was proven worse even from Christofias. He was not like this at the beginning. In one or another way the talks would resume in 2018. And if a president who is against the solution on the Cyprus problem is elected in the south, of what solution are we going to speak about?" Talat wondered.
Commenting on the possibility of the "formation of a four-party coalition government in the occupied area of Cyprus", Talat expressed the belief that this would be very beneficial for the "country". He further claimed that Turkey want a "government" in the "TRNC" that would bring stability and would implement the "protocols".
Also, commenting on the latest attacks against Afrika newspaper, he expressed his sorrow over the incidents and his worries about the future of the Turkish Cypriot "people". "Even though I am not a sympathizer of Afrika newspaper, burning a newspaper is something that only Hitler did. The Turkish Cypriots were never being familiar with such approaches. The distance between Turkey and the Turkish Cypriots was never so obvious. Only Papadopulos and Lillikas enjoy this. I was also attacked at the Greek Cypriot side and Anastasiades dismissed the police chief immediately. Now our police chief should resign immediately or he should be dismissed from his post. I consider that the main reason that the police did not intervene to the incidents were the statements made by the Turkish President", Talat further said.
Under the above title, Hurriyet Daily News (24.01.18 http://www.hurriyetdailynews.com/opinion/barcin-yinanc/loss-of-hope-for-a-solution-in-cyprus-to-determine-fate-of-talks-126137) publishes the following article by Barcin Yinanc:
"Almost three weeks after the Jan. 7 parliamentary elections in Turkish Cyprus, four parties are set to start coalition talks to form a government, leaving out the incumbent National Unity Party (UBP), which got most of the votes: 36.5 %. While the UBP increased its votes by more than 10 % since the 2013 elections, it came short of having the necessary majority to remain in power.
Ironically, the Republican Turks' Party (CTP), which came second in elections yet also became the party which has suffered the biggest setback by losing 16 % of the votes it won in 2013 might end up leading the government. The Democrat Party (DP), which also suffered a serious setback (15 % loss compared to 2013), will also be in the four-party coalition talks, as well as the newly-established People's Party (HP) and President Mustafa Akinci's Communal Democracy Party (TDP).
Former negotiator Kudret Ozersay's HP did relatively well in its first test of elections, winning 17 % of the votes and becoming the third biggest party in parliament.
The newly-established New Birth Party (YDP) supported mainly by Turks with mainland backgrounds also entered parliament, passing the five % threshold by just one %.
Prime Minister Huseyin Ozgorgun, of the UBP and who resigned Jan. 19, has never been on the same page as Akinci in the peace talks. The UBP-DP coalition only halfheartedly supported the negotiations, as both parties were never convinced that the Greek Cypriots would accept a federal solution that would be equally accepted by Turkish Cypriots, which would for instance insist on the continuation of Turkey's guarantees even if with some changes.
Similarly, Professor Kudret Ozersay of HP, who has worked as a negotiator for three different presidents including the late Rauf Denktas, has been critical of the negotiation positions endorsed by Akinci.
While the UBP increased its votes and the HP came third in the elections, the CTP, which one could call as the most committed to a federal solution, has suffered the biggest loss in its history.
That clearly shows that the Turkish Cypriots have lost hope for a permanent settlement. Peace talks with the Greek Cypriots collapsed last year and it seems the Turkish Cypriots are not holding their government and leadership responsible for the failure, but instead the Greek Cypriots. If they had thought there was a reliable interlocutor, the voters would have given a new mandate to negotiate to a political party. But in the end they did not do so.
Currently, the only thing that brings together the four parties that will start the coalition talks are their common reaction to the corruption claims regarding the UBP and Ozgorgun.
It will prove quite challenging for these four parties to find a common ground for the future of the peace talks.
Following the elections in Greek Cyprus, efforts to revive peace talks will start, but it's impossible for talks to take off from where it was left. Greek Cypriots have staunchly been supporting "no guarantee, no Turkish soldiers." That's a nonstarter for the Turkish Cypriots. Akinci, on the other hand, does not want to start open-ended talks and wants to have the Turkish Cypriots' status clarified in advance in the event of a new failure. That happens to be a nonstarter for the Greek Cypriots.
And this will mean protracted talks just to agree on the conditions of the new round of negotiations, which would further expand the need to look for alternatives for a settlement."
Turkish Hurriyet Daily News (24.01.18 http://www.hurriyetdailynews.com/us-delegation-in-ankara-after-turkeys-afrin-operation-126157) reports that a U.S. delegation is having talks in Ankara after Turkey launched "Operation Olive Branch" into Syria's Afrin province.
The U.S. delegation, led by Deputy Assistant Secretary for European and Eurasian Affairs Jonathan Cohen and officials from the Department of Defense, are in Ankara for talks as part of a joint working group that meets periodically.
They are meeting in the Foreign Ministry with their Turkish partners headed by Ahmet Muhtar Gun, Deputy Secretary of the Ministry.
The working group's agenda includes a number of issues that have led to tension in bilateral relations in recent months including the visa crisis and ongoing investigations of U.S. consular staff.
In another meeting in the afternoon, U.S. Department of Defense officials, headed by Cohen, will discuss the "struggle against terrorism" at the General Staff, where the Turkish side will brief them about the ongoing "Operation Olive Branch."
Turkish Hurriyet Daily News (24.01.18 http://www.hurriyetdailynews.com/turkeys-military-operations-to-continue-until-3-5-million-syrians-return-government-126195) reports that the Turkish military's operations in Syria will continue "until all terrorists are fully eliminated" and around 3.5 million Syrian refugees return to their homes, the Ankara government announced after a top security summit held on the fourth day of "Operation Olive Branch" in Afrin.
"Our operations will continue until the separatist terror organization is fully cleared from the region and around 3.5 million Syrians who are now sheltered in Turkey are able to securely return to their homeland," Presidential Spokesman Ibrahim Kalin said in a written statement on Jan. 23 after the summit.
The meeting was convened at the presidential complex in Ankara, under the leadership of President Recep Tayyip Erdogan and with the participation of senior military and civilian officials.
Turkey currently hosts around 3.5 million Syrians who have fled violence in Syria since the civil war broke out in early 2011.
Echoing Kalin, Prime Minister Binali Yildirim also vowed that the operation will continue "until the last terrorist is eradicated in the region."
Kalin said the operation in Afrin is going "successfully and as planned," with the Free Syrian Army (FSA) and the Turkish Armed Forces (TSK) continuing their advance into the enclave. He stressed that Turkish troops are paying "utmost care to distinguish civilians from terrorists" and are also working to deliver necessary humanitarian assistance to locals.
"Operation Olive Branch is being carried out against terror organizations, not against any ethnic group. Similar operations by Turkey until today have never brought about atrocities, blood or tears. To the contrary, they have brought peace and well-being to the people living in those areas," Kalin said.
He also urged media institutions to be "careful against disinformation, untrue and distorted news and footage" of the operation, saying legal action will be taken against any such attempts.
Moreover, Turkish Hurriyet Daoly news (24.01.18 http://www.hurriyetdailynews.com/turkey-to-cooperate-with-us-in-syria-only-if-it-ends-support-for-ypg-presidential-spokesperson-126219) also reports that Turkey will cooperate with the U.S. in Syria only if Washington ends its support to the Syrian Kurdish People's Protection Units (YPG) and takes back the arms it has provided to the group, Kalin has said.
"Then we can talk about the future of Syria with them," Kalin told private broadcaster CNN Turk on Jan. 23.
Kalin also denied suggestions that Turkey negotiated a 'give and take' deal with Russia, offering control over Idlib province in return for control over Afrin. "There is no such undercover negotiation," he said.
The presidential spokesman also recalled that Washington promised to Ankara last year that it would end military support to the YPG after the Islamic State of Iraq and the Levant (ISIL) is defeated, questioning why the U.S. is still supporting the group despite the defeat of ISIL in Syria.
Turkish Hurriyet Daily News (24.01.18 http://www.hurriyetdailynews.com/nato-acknowledges-turkeys-terror-concern-126201) reports that
Turkey is among the NATO members "most affected by terror attacks" and NATO fully recognizes the threat posed to it, Deputy Secretary General Rose Gottemoeller has told the Hurriyet Daily News in Ankara.
"Turkey has really suffered from terrorism in recent years and has a very serious problem. It is among the NATO allies that suffer the most attacks in recent years and we do recognize that fully," Gottemoeller said after talks in the Turkish capital on Jan. 22.
She also noted that "proportionality and international law" should be the parameters that "Operation Olive Branch" focuses on as the Turkish military engages in Syria's Afrin province.
The operation topped the agenda in all her meetings in Ankara at the Foreign Ministry, the Defense Ministry and the Chief of Staff, Gottemoeller said.
In the talks she heard "very good messages" from Turkish colleagues about "respect for the territorial integrity and sovereignty of Syria," Gottemoeller added, noting that similar messages were given by the president and the prime minister.
"Because NATO is an institution that stands for the rule of international law, and because Turkey is a long-standing member of the alliance, we are very glad that these messages are coming from the highest level of the Turkish government," she said.
Questioned about Erdogan's recent criticism of NATO for "failing to support Turkey" regarding the threat posed by Syrian Kurdish fighters across its southern border in Syria, Gottemoeller emphasized that the alliance is not physically present in Syria.
"We are not part of the operations that have been taking place in Syria in recent years. We are, of course, a member of the global coalition to fight [the Islamic State of Iraq and the Levant] ISIL and in that context we are active in training activities in Iraq," she said.
Although the anti-ISIL coalition is close to defeating the group in Iraq and Syria, military capacities such as the Airborne Early Warning and Control Systems (AWACS) provided by NATO as part of the anti-ISIL fight remain in place and will continue, Gottemoeller added.
"That is a long-standing and well-established operation. AWACS are providing surveillance not only over Turkish airspace but also providing some surveillance capacity and capability, to conduct what we call air traffic control operations in Iraq too. So there are some very important activities that are in place and will continue," she said.
Asked if continued tension between Washington and Ankara could negatively influence ongoing cooperation within NATO, Gottemoeller said the alliance is a "big family."
"It works closely together and must work closely together because that is the only way any decision made in NATO can go through a consensus," she said, describing Turkey as a "full member of the alliance, engaged in every decision."
"It is very important to remember that as in any big family there are sometimes going to be family disagreements, but the important thing to recognize is each ally has an equal seat at the table in decision-making. They have an equal right to say 'no' when they don't want something to happen. We respect Turkey's role in the alliance very much and value it very much," she said.
Touching on Turkey's controversial purchase of Russian S-400 anti-missile defense systems, Gottemoeller said NATO "respects the decisions" that its members make about all weapons purchases.
"NATO does not really determine what decisions its allies will make on weapons purchases. What NATO really focuses on is maintaining an effective defense for all allies. One of the points that we have been keen to underscore is that we see interoperability as being very important. We can best defend our allies if our systems are able to work together to provide mutual deterrence and mutual defense. These are some issues that countries need to consider when they make weapons purchases, but in terms of each ally making its own decisions NATO does not dictate those decisions," she added.
Turkey's decision to buy the Russian S-400 systems in a $2 billion deal has raised the eyebrows of other NATO members, concerned about their inter-operability with the alliance's other systems.
Turkish daily Sabah (24.01.18 https://www.dailysabah.com/diplomacy/2018/01/23/erdogan-speaks-to-putin-macron-over-afrin-operation) reports that Turkish President Recep Tayyip Erdogan discussed the Operation Olive Branch and the latest developments in Syria with his Russian counterpart Vladimir Putin and French President Emmanuel Macron in two separate phone calls, diplomatic sources said Tuesday.
During his phone call with Macron, Erdogan underlined that Turkey's counter-terror operation in northwestern Syria's Afrin region is being carried out within the framework of Turkey's rights based on international law, U.N. Security Council Resolutions, its right to self-defense under the U.N. Charter and respect for Syria's territorial integrity. The two leaders agreed to stay in close contact regarding the settlement of the ongoing Syrian crisis.
A few hours later, Erdogan held another call with Putin, in which the two leaders voiced their determination for the upcoming Syrian National Congress in Sochi to open new chapters for a political solution in Syria.
In addition, Sabah( 24.01.18 https://www.dailysabah.com/diplomacy/2018/01/23/erdogan-to-discuss-operation-olive-branch-with-trump) also reports that Erdogan will hold a phone call with his U.S. counterpart Donald J. Trump on Wednesday, in which the two leaders will discuss Turkey's Operation Olive Branch against YPG and Daesh terrorists, Foreign Minister Mevlut Cavusoglu said.
(CS/ AM)
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Beginners Yiddish with Avi Blitz
taring February 8, this course will introduce you to Yiddish language and culture. Over a period of three weeks, you will learn how to write, read, speak, and understand basic Yiddish. The course will introduce you to the fundamental grammatical principles of the language, which will give you a solid base to build on as you continue your Yiddish journey. Through songs, poetry, and literature, you will become acquainted with Yiddish culture, a rich tradition covering almost a thousand years of Jewish history. You will be provided with a syllabus and learning material, though you are advised to purchase Uriel Weinreich’s Yiddish English, English-Yiddish dictionary. The course is fully online by zoom with access to UNTREF virtual campus. Duration 3 weeks. Course load: February 8-26; Monday to Friday from 2 p.m. to 3:30 p.m. GMT4 Argentina Buenos Aires. Register and reserve your spot here: https://forms.gle/7pEX8K1F3DxPbJZAA
The Yiddish language program in IWO is envisioned with a dual approach.
• As a communication language: we offer tools to facilitate self-expression and production in Yiddish as a venue for transmission and reception of Jewish cultural heritage.
• As a language of access to historical documentation: we foster access to different forms of written artifacts and emphasize the recognition of non-standard forms of the language.
About the Instructor:A dual citizen of Israel and the UK, Avi Blitz is a graduate of Oxford University and holds a PhD in Comparative Literature and Jewish Studies from Indiana University. His research focuses on the Yiddish Tsene-rene, a seventeenth-century compilation of biblical, midrashic, and folkloric stories arranged according to the weekly Torah reading. Blitz is a contributor to In Geveb, an online journal of Yiddish Studies. He has taught Hebrew, Yiddish, and Jewish Studies in the United States, Israel, and Europe. His last academic appointment was at the Polis Institute of Languages and Humanities in Jerusalem where he taught MA courses in Hebrew literature and Jewish sources. Blitz is currently based in Panama where he directs language instruction at a trilingual school.
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FUNDACION IWO - Ayacucho 483 C.A.B.A. Tel. 4953-0293 - Tel/Fax.: 4953-9614 - E-mail: info@iwo.org.ar
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Quack Pack: The Really Mighty Ducks Review
Posted on March 7, 2019 March 8, 2020 by Jennifer McMurray
Quack Pack is available on Disney Plus.
Quack Pack was a 1996 show starring Donald Duck, Daisy Duck, Huey, Dewey, and Louie. It was based on the Donald Duck shorts, which was referenced in the theme song as it begins with the title card and music from the original shorts.
The fact that it was based on the shorts gave it a slapstick, abstract quality. This, combined with the show’s inclusion of human characters and the choice to not include characters like Scrooge or Launchpad, caused it to be negatively compared to DuckTales, a well-received show that also was on the Disney Afternoon cartoon block.
This caused it to only run for one season containing thirty-nine episodes. However, with the recent DuckTales reboot, it’s worth checking out Quack Pack again. It’s actually a fun little show, and some of the show’s character ideas actually made it into the modern DuckTales, with a few tweaks.
This is the first time that gave Huey, Dewey, and Louie had regular pre-teen voices rather than duckling speak. It’s also the first animated production where the twins were given individual personalities. Both of these carried over into the 2017 DuckTales series, however, personality traits were swapped. In Quack Pack, Huey was the schemer, Dewey was the intellectual, and Louie was the adventurer. In the 2017 DuckTales series, Huey was the intellectual, Dewey was the adventurer, and Louie was the schemer.
The episode itself is a fun one. Professor Ludwig von Drake, a mainstay in both comics and animation, shows the twins his inventions as the twins want to use one to help them clean their rooms. Of course, being pre-teens, they choose the superhero machine over the room cleaning machine. Huey gets super speed, Dewey gets a massive brain, and Louie gets super strength.
This leads to a fun series of sequences where the twins use their powers for frivolous things and end up doing more harm than good. Ultimately, Donald decides to use von Drake’s machine for himself, since he can’t convince his nephews to clean their room.
He accidentally turns himself into a villain, and things get really over the top and fun from here. Donald turns the universe into his battlefield, using Saturn’s rings as a slingshot and shooting planets and stars at the twins. This wonderfully shows how abstract and slapsticky the show can get, but this is where Quack Pack shines. It’s less like DuckTales and more like Freakazoid, and that’s the show’s best quality. When an animated show has an abstract sense of humor, nothing is off limits, and this episode demonstrated that in spades.
Quack Pack is a fun, underrated show. The Really Mighty ducks is a fantastic way to introduce the show. It’s abstract and silly and it isn’t afraid to go all out, giving a fantastic bit of animation, and some super fun and silly scenes and references in the process. If you go into Quack Pack with the mindset that you’re in for something super fun and silly, you should have an enjoyable time with it.
4½ out of 5
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Post by Matthew Newfield. Colgate Class of 2023.
Migration from the Philippines has become extremely commonplace as migration is central to the Philippines’ economy’s well-being. The persistent trend of emigration in the Philippines began when the Philippines government started the overseas employment program. This program was launched in response to the Philippines’ economic instability in the 1970s and sent Phillipino workers to middle eastern countries experiencing labor shortages.
The facilitation of overseas employment had drastic repercussions where ten percent of the Filipino population works overseas, and the Philippines has the third-highest number of recipients of remittances in the world, with remittances totaling up to 26.9 billion United States dollars. With many of the Philippines’ high skilled workers overseas, the Philippines experiences a “brain drain” where Filipino doctors, engineers, and mechanics do not contribute to bettering the Philippines. As well, the remittances received have an enormous impact on the Filipino economy where, “At the macroeconomic level, the surge in remittances has been boosting the Philippine peso, easing the foreign debt burden and taming national inflation.” (Baggio 110).
However, a reliance on remittances is not a viable solution to domestic economic issues as remittances do not significantly impact the domestic economy. Additionally, policies such as the 1934 Tydings-McDuffie Law, where Filipinos became subject to United States migration quotas unless of a labor shortage, reveal that labor migration is not a viable solution to domestic economic issues. Policies such as this demonstrate that overseas labor is not guaranteed and is dependent on necessity, and quotas, similar to the 1934 Tydings-McDuffie Law; limiting migration will, in turn, lower remittances and negatively affect the economy.
Even with resilient economic growth in the Philippines, where gross domestic product rose six percent yearly from 2011 to 2016, the emigration rates remained stable. Emigration has remained steady because, even with economic growth, the Philippines has been unable to alleviate high domestic unemployment rates. The continuation of policies promoting emigration and the inability to alleviate domestic economic issues have made the Philippines economy particularly vulnerable.
The use of labor migration for economic stability has proved to keep the Philippines afloat; however, worsening climate conditions and global economic changes may challenge this tactic’s success. The Philippines is extremely vulnerable to climate change and has experienced an increase in the frequency of natural disasters. With natural disasters occurring more frequently than before, the Philippines will become a more challenging place to live, and there may be a significant increase in emigration rates unrelated to labor migration. The refugees that natural disasters will create may influence countries’ immigration policies on Filipinos, lessening the number of Filipinos allowed to migrate. The Filipino refugees may impact Filipino laborers’ ability to enter foreign economies, as there will be significantly more Filipino immigrants.
Additionally, faced with sustainability, the world is beginning to replace oil consumption with renewable energy. The lowering demand for oil lowers oil prices and will create a surplus of workers in this sector. As many overseas Filipino workers are laborers in oil fields, the lower demand for labor in the oil-producing countries will lessen the number of Filipino workers necessary for oil-producing countries. The decrease in overseas employment opportunities will lower the amount of money in remittances and may negatively impact the Philippines’ economy’s welfare.
Lastly, the COVID-19 pandemic caused a worldwide economic downturn, where unemployment rose, and economic activity decreased. The pandemic not only slowed the global economy but impacted travel itself, causally lowering the number of foreign workers allowed in a country. The coronavirus pandemic may reduce the number of Filipino laborers permitted to migrate for work, consequently impacting the Philippines’ economy’s welfare. Additionally, the pandemic has contracted the global economy and has lowered labor demand as the pandemic has reduced output, which will decrease the amount of overseas Filipino laborers working and sending remittances home.
Asis, M. (2017, November 30). The Philippines: Beyond Labor Migration, Toward Development and (Possibly) Return. Retrieved October 08, 2020, from https://www.migrationpolicy.org/article/philippines-beyond-labor-migration-toward-development-and-possibly-return
Asis, M. M., & Baggio, F. (2008). Moving out, back and up: International migration and development prospects in the Philippines. Quezon City, Philippines: Scalabrini Migration Center.
Maruja M.B. Asis Maruja M.B. Asis. (2019, July 19). The Philippines’ Culture of Migration. Retrieved October 08, 2020, fromhttps://www.migrationpolicy.org/article/philippines-culture-migration
Federal Judge Blocks Citizenship Application Fee Increase
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Otto Rahn:
Dan McNeil: The Judas Apocalypse, and Interview with the author
On the eve of the Second World war, Dr. Gerhard Denninger, a German archeologist is approached by infamous Grail seeker Otto Rahn who tells him a fantastic story of Templars, Church scandal, a long-buried manuscript, and the key to finding the famous lost treasure of the Cathars. In 1944, with the help of a group of American soldiers, Denninger continues his quest for the secret of the Cathar treasure. With dangers dogging them at every step, will they find what they’re seeking? And will they be prepared for the shocking discovery that awaits them?
http://www.danmcneil.ca/
Daniel McNeil Interview by Lorna T. Suzuki
I’ve met some of the most interesting writers on Twitter and my guest blogger, fellow Canadian and debut novelist Dan McNeil is no exception! Before we talk about your book ‘The Judas Apocalypse’, let’s start with a little information about you. I know you were born and raised in Toronto. Any other personal details you’d like to share with the readers?
DM: I’m 47 years old and used to be married (separated now). I have two amazing daughters who keep me on my toes and on weekends I play in a classic rock band with some of the best musicians in Ottawa. (It’s really a kick-ass band, I gotta say…can I say kick-ass?)
Sure, as long as it does not imply physically putting the boot to someone’s backside! Now, I understand you are an award-winning songwriter, even winning the Nashville Songwriters Association International competition in 2002. Being so gifted as a musician and songwriter, is writing something that came to your later in life, or has writing stories always been a part of your life and becoming a published author a life long dream?
DM: I knew I could write music, but a book? I always wanted to write one, but sitting down and doing it seemed so unreal that I always pushed it out of my mind. Booted it out, actually. I read books, not write them. I honestly didn’t think that I would (or could) ever do it but I finally decided to give it a shot. I really just wanted to see if I could pull it off.
You’ve received rave reviews about your debut novel, ‘The Judas Apocalypse’, even being compared to international bestselling author Dan Brown of ‘The Da Vinci Code’ fame. What is the inspiration behind this story and can you tell us a little bit about your protagonist, Gerhard Denninger?
DM: I’d had the idea for years and I knew it was a good one but I also knew that if I attempted it, it was gonna be a long, hard slog. When I finally decided to do it and began the arduous but necessary research process, I discovered a whole treasure trove of information that sent the basic plot spiraling off in an exciting and at the same time, controversial direction. It really energized me. I also knew that I wanted to populate the book with real historical characters. For instance, Otto Rahn, the German archaeologist who searched for the Holy Grail (and was one of the inspirations for Indiana Jones, by the way) appears as one of the characters helping Denninger on his quest.
Without a doubt, I wanted to stay away from the stereotypical young protagonist (and the beautiful assistant who inevitably turns out to be his love interest.) I wanted my hero to be not what you’d expect and archaeologist Gerhard Denninger is probably the farthest thing from any hero stereotype – he’s in his 60’s and a member of the German Heritage Society during World War 2. He hides his ethnic background from his Nazi superiors so that he has the opportunity to look for the lost Cathar treasure and is willing to stop at nothing to find it. Dr. Denninger is definitely not your average action hero.
Without giving away too much, can you reveal what’s in store for the reader when they crack open ‘The Judas Apocalypse’?
DM: At its heart, it’s a good old-fashioned treasure hunt. I usually describe it as an Indiana Jones meets “Kelly’s Heroes” kind of adventure. It begins when German archaeologist Gerhard Denninger meets Grail seeker Otto Rahn on the eve of the Second World War. Rahn tells Denninger of a Knights Templar scroll that when decoded, will reveal the lost Cathar treasure which he believes lies in southern France. Rahn disappears just as the scroll falls into Denninger’s hands, setting the archaeologist off on a journey that could reveal a secret so shocking that it just might shake the foundations of one of the world’s largest religions to the ground. (How’s that for a dust jacket blurb?)
Anytime a book, especially a fictionalized version of history and even more so when it involves events in the bible hits the bookstores, there’s bound to be controversy. I’m sure this has been the same for you. Can you share what some of the controversies have been since you’ve published ‘The Judas Apocalypse’?
DM: I thought about sending a couple of copies to the Vatican, just to see if I could stir things up.
Oooh! I bet you would have incurred the wrath of God via the Roman Catholic Church if you had! LOL!
DM: Seriously, it’s been pretty low key considering what’s presented in the book, but maybe readers are becoming more questioning and more open to these kinds of things. I’ve had more than a few people tell me that they’re looking at certain events in a whole new way because of the novel, so that’s good. One reviewer wrote that she found it “haunting.” I’ve been actually waiting for the hue and cry from my relatives, but so far nothing. That’s good too! I do have to say that the biggest compliment I get is that the reader can’t put it down. That is what I find most gratifying.
The road to publication is difficult at the best of times. Was it difficult for you to land an agent? Do you have any advice you’d like to share with the author struggling to find representation?
DM: Actually, I’m still looking for an agent, so yeah, I’d say it’s difficult to land one. Hello…agents?
Becoming a published author is truly a difficult road to travel, so we’re always pleased when a fellow writer is plucked from relative obscurity to land a book deal. How did you find I Publish Press?
DM: I had sent out about 200 query letters to agents and was dead centre in the middle of nowhere when I came across the I Publish Press website. They were running a contest so I thought, “What the hell, let’s give it a try.” Because I knew that they’d have to read the whole manuscript, not just the first couple of chapters, I thought that at least I would get a critique. It would help me fix what needed to be fixed and maybe I’d have a better shot at getting it published. I then promptly forgot about the whole thing in a flurry of new agent queries. I received the email in March of 2007 and remember being both thrilled and utterly shocked at the same time when they told me it won and that they were going to publish it. I also remember thinking “how the hell did that happen?” too. It was very cool.
Cool indeed! I’m curious about your writing style. Are you one of those disciplined writers who must dedicate a certain time each day to producing so many words, or are you more relaxed and tend to write when it strikes your fancy?
DM: Both. I usually write early in the morning but oddly enough, I like to compose music late at night. When I was writing the second novel, I tried to adhere to a schedule, but since I’m not a full time writer, work tended to get in the way. Many nights I was drained from working and not in the mood for writing so I found myself getting up earlier in the day before work to write. It seems to work for me.
Still on the subject of writing styles, are you a plotter or pantser? The readers would like to know if you tend to plot out your story line in great detail or if your writing is more organic with the characters and events unfolding as you write.
DM: For ‘Judas’ I had the basic plot planned out in advance but the writing was definitely organic, especially after what I found in my research. It just kinda took off in a different direction, so I let the writing follow. Maybe it’s because I’d never done it before but when I was writing, I discovered that it was like watching a movie – I saw the events unfold and so I had the characters react accordingly. I found it kept things interesting and fresh. It really took on a life of its own.
With ‘The Judas Apocalypse’ in print and another novel, ‘I Want to Hold Your Hand’ recently completed, these are two completely different types of stories. I’m curious, where do you find your inspiration?
DM: I’ve always been a huge Beatles fan. I remember reading in Peter Brown’s ‘The Love You Make’ (one of the best books I ever read about the Beatles, by the way) that in the hour they were on “The Ed Sullivan Show” in February 1964, not even a hubcap was stolen in New York because everyone in the whole city were crowded around their TV sets. It occurred to me that it would have been a perfect time to rob a bank. That’s when the light bulb clicked on and the basic premise for ‘I Want To Hold Your Hand’ popped out. The rest of the story and the characters came very quickly to me after that. I’m really happy with the way it turned out too. (Again, hello agents out there…)
Some authors meditate, others need to fuel up on coffee or listen to music. Do you have any rituals, ones that can be shared with the readers, that you must do before you hunker down for a writing session?
DM: Not really. I just know when I have to do it. It’s kind of like writing music. Sometimes a tune or chord progression comes to me and I need to get it out. If I get a story idea, I jot it down or put it in Word and go from there. I do wish I had a ritual that I could stick to though – maybe it would help me to write on a more regular basis.
At one time or another, most writers hit the wall and their work stalls because of the dreaded writer’s block. What do you do to get around or over this mental wall to resume writing?
DM: I used to work in television news so every night I had a 6 PM deadline. I found that the best thing for me is to create a deadline so that I’m forced to write. It’s funny. Considering how epic and complex the first book was, I never suffered writer’s block. I did hit the wall a couple of times in the Beatles story though, but for not very long. You’d think it would have been the other way around, considering the topics of each book.
Who is your favourite author and how has he/she inspired you to write or influenced your writing style or choice of genre?
DM: I know it’s cliché, but my favorite book is ‘Catcher in the Rye’ by J.D. Salinger. I first read it when I was 19, and I think I read it once a year. It was certainly an influence on me as was, believe it or not, David Niven’s ‘The Moon’s a Balloon.’ I remember reading that book when I was 14 and I loved his easy going, conversational style. I also found it very visual. It must have rubbed off on me because I’ve been told a number of times that my writing is very visual too. I’m also a big fan of Jeffery Deaver. I love his style and the way he leaves you hanging at the end of every chapter.
What is the most profound discovery you’ve made in terms of your writing and how it has touched the lives of others?
DM: I’m constantly amazed and humbled by how much readers seem to like the book. I mean, it’s the first book I ever wrote. First of all, I never expected it to be published, and second, I never expected it to affect people the way it has. I think I may stick with this writing thing…
What is the most important lesson you’ve learned on the road to publication?
DM: It’s really damn hard to get an agent!
What are you reading now, and how did this particular book make it onto your to-read list?
DM: I just finished re-reading ‘The Alienist’ by Caleb Carr. Great historical thriller – love this kind of stuff. Now I need to find something new…
What do you foresee in your future over the next five years, a return to music and songwriting perhaps? Can your fans expect a sequel to ‘The Judas Apocalypse’ in the near future?
DM: I’m getting the itch to write music again, and I have a couple of ideas for a couple of new stories – just need to find more time! I’ve also written a screenplay based on my Beatles story – again, just wanted to see if I could do it. A sequel to Judas? Whew! Yeah, that’s possible…
Thank you so much for taking the time to tell us about ‘The Judas Apocalypse’ and for sharing in your adventures in writing, Dan! Wishing you continued success and many more hours filled with creative inspiration in both your music and storytelling.
http://web.me.com/imagobooks/IMAGO_FANTASY_REALM/Blog/Entries/2010...
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Home Newswire Wall Street plunge continues – World Socialist Web Site
Wall Street plunge continues – World Socialist Web Site
Dec 24, 2018: 5:37 am
Fed attempt at calming markets fails
Wall Street plunge continues
Wall Street had another wild day yesterday with the Dow ending down by 415 points, after rising by almost 400 points in the opening hours of trading. The S&P 500 index fell by 2 percent and the NASDAQ was down by 2.99 percent, capping the worst week for Wall Street since October 2008.
The Dow lost 1655 points for the week, a decline of 6.8 percent, its worst percentage drop since the onset of the financial crisis a decade ago, the NASDAQ lost 8.3 percent for the week and is now 22 percent below its high last August and the S&P fell by 7 percent and is now down 17.8 percent from its high.
Both the S&P and the Dow are on track for their worst December performance since December 1931, amid the Great Depression.
Bloomberg published an article noting that currently 38 percent of stocks are trading at 52-week lows. Since 1984, there have only been eight days when a larger proportion of stocks traded at those levels. Two of them took place during the October 1987 crash, when the Dow fell 23 percent in a day, with the rest occurring in October and November 2008.
The brief rally was set off by an interview with New York Federal Reserve president John Williams with the business channel CNBC in which he said the Fed was going into 2019 with eyes “wide open” and was willing to reassess its outlook for the economy and by implication its monetary policy.
He had clearly been given a brief to calm the markets after their adverse reaction to Wednesday’s decision to lift interest rates by 0.25 percent and indicate that the Fed was taking note. He defended the rate rise, based on the assessment that the economy would continue to grow next year, but said the Fed was paying close attention…
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You are here: Home / 2018 / August / 27 / “Silent prayer”, the first silent piece
“Silent prayer”, the first silent piece
Published by JamesP on 27 August 2018 | 2 Responses
In February 1948, John Cage gave a talk at Vassar College in Poughkeepsie, New York as part of the National Inter-Collegiate Arts Conference. The subject of the conference was “The Creative Arts in Contemporary Society.” Merce Cunningham spoke as part of the session on drama and dance, and Cage was on the art and music panel with painter Ben Shahn. Cage’s talk was titled “A Composer’s Confessions”. Towards the very end, he described his vision of a silent piece:
I have, for instance, several new desires (two may seem absurd but I am serious about them): first, to compose a piece of uninterrupted silence and sell it to Muzak Co. It will be 3 or 4½ minutes long—those being the standard lengths of “canned” music—and its title will be Silent Prayer. It will open with a single idea which I will attempt to make as seductive as the color and shape and fragrance of a flower. The ending will approach imperceptibility.
To our knowledge, Cage never actually composed Silent prayer. It has always been assumed that 4′ 33″, composed four years later, was the ultimate realization of Cage’s 1948 desire. Cage himself made this connection, when he noted that he had the idea for a silent piece years before he actually wrote 4′ 33″.
But when connecting Silent prayer and 4′ 33″ it is easy to overlook the rather startling gap between John Cage in 1948 and John Cage in 1952. So many of the characteristics, features, and aesthetic attitudes we associate with Cage’s music in 1952—and especially with 4′ 33″—were not yet in place in 1948. Here are a few things that would be completely missing at the time Cage proposed Silent prayer:
Most importantly, his experience in the anechoic chamber and the resulting realization that there is no such thing as silence (he entered an acoustically engineered, perfectly silent space and still heard sounds from his body). In 1948, Cage still thought of silence as the absence of sound. A few months after the lecture at Vassar, for example, he delivered a lecture at Black Mountain College in which he described silence as “the opposite, and therefore, the necessary partner of sound.” It was not until some time after 1950 that he began defining silence as unintended sound. In 1948 he had no interest in paying attention to ambient noise, much less considering it to be music.
Chance as a compositional tool. Cage’s first use of chance operations was still three years away (1951’s Concerto for prepared piano). The music that he was writing at the time of “A Composer’s Confessions” was the Sonatas and interludes.
The language of Zen Buddhism. The first mention of Zen in Cage’s writing does not occur until a letter to the editors of Musical America in 1950. This draws from R. H. Blyth’s book on haiku, published in 1949. Cage spends a good deal of time in “A Composer’s Confessions” describing his spiritual investigations and does not make a single mention of Buddhism in any form. While he no doubt had heard of it, there is no reason to believe that Cage had any special interest in Zen in 1948.
The existence of Silent prayer means that John Cage conceived of a silent piece without any of these things as preconditions. It demands that we explain what a silent piece meant to John Cage without recourse to any of these things. Imagine taking the entire literature on 4′ 33″ and redacting all mention of the anechoic chamber experience, “no such thing as silence”, ambient sound, chance, and Zen. There would be relatively few coherent paragraphs remaining, stranded in the sea of black. While Silent prayer is not 4′ 33″, the two works are clearly connected—they are both silent pieces. The radically different historical context of Silent prayer makes us rethink Cage’s motivations for a silent piece, and hence for 4′ 33″.
What was the context of Silent prayer, then? We can start with the context of “A Composer’s Confessions” itself. In this talk, Cage described his musical ambitions, how they were dashed, and how he came to become a seeker of spiritual wisdom that could inform his musical life. He was speaking at the time when he was in his deepest connection to the work of the art historian and philosopher Ananda Coomaraswamy. Cage, following Coomaraswamy, forcefully stated that music serves a spiritual rather than a material purpose:
So I don’t believe it is any particular finished work that is important. I don’t sympathize with the idealization of masterpieces. I don’t admire the use of harmony to enlarge and make music impressive. I think the history of the so-called perfecting of our musical instruments is a history of decline rather than of progress. Nor am I interested in large audiences or the preservation of my work for posterity. I think the inception of that fairly recent department of philosophy called aesthetics and its invention of the ideas of genius and self-expression and art appreciation are lamentable.
Taking this line of thinking further, Cage even disavowed his interest in new musical materials. The desire for the unknown, Cage said, “has found expression in our culture in new materials, because our culture has its faith not in the peaceful center of the spirit but in an ever-hopeful projection on to things of our own desire for completion.”
It was immediately after making this strong anti-materialist declaration that Cage described Silent prayer. Given the spiritual journey described in “A Composer’s Confessions”, it is clear that the title of the piece was meant sincerely. This was no joke (as Cage made explicit to his listeners). What did he mean by it? The idea of Silent prayer was perhaps akin to what contemporary spiritual teacher Tara Brach refers to as “the sacred pause,” a time to silence the ego and turn inwards, away from the materialistic culture that Cage (and Coomaraswamy) found problematic artistically. Cage did not describe Silent prayer as a concert work, but rather as a track to be programmed for Muzak, a way of inserting that sacred pause into the never-ending babble of distracting music in the public space.
Cage, of course, had used silences in his music before, even a few rather lengthy ones. But these were expressive silences. As explained in “A Composer’s Confessions,” the silence of Silent prayer was to be something altogether different. It would represent a turning away from personal expression, a turning away from ego, a turning away from the material—and a turning inwards to emptiness. It would be not simply an acoustic silence, a silence to be listened to, but rather a compositional silence, a silence to be composed from.
Cage proposed “to compose a piece of uninterrupted silence”, thus indicating that this was not just a concept, but a practical musical project. In 1948, Cage was recently equipped with the technical means needed to execute such a project: a duration structure that could equally accommodate sound and silence. He had based all his music on duration structures since he had emerged on the new music scene in the late 1930s. But those structures were based on the idea of phrase structure derived from the dance. Earlier in “A Composer’s Confessions”, he states this plainly:
Two facts then led me to structural rhythm: the physical nature of the materials with which I was dealing [i.e., unpitched noises], and the experience I had in writing within the lengths of time prescribed for me by modern dancers.
In this context, silence could be used within the duration structure, but since it followed the dance, these silences would be dramatic in nature: the cessation of the music would contribute to the expressivity of the choreography. But even as he was describing his work with dancers, Cage’s thinking about duration structures was changing, and rapidly so. Just a few months after “A Composer’s Confessions” he delivered his lecture “Defense of Satie”, wherein he would shift to an acoustic rationale for duration structures. His central thesis was that duration was the only basis for structuring music because it was the only factor in common between sound and silence. Thus in Cage’s new thinking silence was becoming the basis for structure; one could even think of his duration structures as silent, empty containers within which the music would happen. Although he did not recognize this quite yet, Cage was developing the basis for a technique that could encompass compositional silence. Realizing that durations could be filled with either sound or silence, it is a short distance to conceiving of a structure that is entirely silence, non-material, empty of self-expression. The appearance of Silent prayer in 1948 could thus be a result of nascent technical musical realizations as well as spiritual discoveries.
But what did Cage mean by that poetic, cryptic description of the piece?
It will open with a single idea which I will attempt to make as seductive as the color and shape and fragrance of a flower. The ending will approach imperceptibility.
Without further clarification from Cage, it is anyone’s guess what this might mean. My own personal guess of the moment is that Cage envisioned sound being the frame for his three-to-four-and-a-half minutes of silence—how else to demarcate the silence? He would craft some “seductive” sound for the opening, and then some barely perceptible sound to mark the ending. I can almost hear them in my mind’s ear, perhaps as prepared piano sounds drawn from the palette of Sonatas and interludes.
Cage did not create Silent prayer, however—why? It may have been that his conception of the piece was inextricably linked to its placement on Muzak. Selling this to them would certainly have been a tall order. We have no record of any attempt that Cage made to pitch this idea to the company, and it seems unlikely that he would have gotten far if he had. Cage instead channeled his thinking about compositional silence into other projects. In 1949, while spending time in Paris, he began working on what would become his String quartet in four parts. “Without actually using silence, I should like to praise it,” he wrote at the time. With its flat, relatively uneventful surface (especially in the “nearly stationary” third movement), and with its increasingly controlled use of materials, the string quartet shows another way of approaching the compositional silence that Cage hinted at in “A Composer’s Confessions”. This way of thinking would lead him in 1951 to use chance operations in his Concerto for prepared piano and chamber orchestra. This emptiness of self through chance operations was the breakthrough that Cage had been working towards, the realization of compositional silence. It was a life-altering development. Perhaps then it is not surprising, with his energy applied in this direction, that Silent prayer remained unrealized. But it was the technique of chance operations that would bring the next silent piece into being: 4′ 33″.
Next in this series: The origin of 4′ 33″
Home page for the entire series: John Cage’s silent piece(s)
Notes & asides
“A composer’s confessions” has been published in various places, including Musicworks issue 52 (Spring 1992). The 1948 Black Mountain College lecture in which Cage described silence as the opposite of sound is his “Defense of Satie”, published in Richard Kostelanetz’s anthology John Cage (Praeger Publishers, 1970). The quotation about the string quartet and silence is from a letter Cage wrote to his parents in August of 1949.This critical period in Cage’s life and work, from 1948 through 1951, was the subject of my series “Opening the door into emptiness”. In that series I go into much greater detail about “A composer’s confessions”, Cage’s conflicted relationship to Coomaraswamy’s writing, and the exploration of compositional silence that led to chance operations. My thinking about the different kinds of silence in Cage’s work and how they relate to Silent prayer were helped along by William Brooks’s article “Pragmatics of silence” in Silence, music, silent music, edited by Nicky Losseff and Jenny Doctor (Ashgate, 2007).
Posted in John Cage Tagged 4' 33", silence, silent piece, silent prayer
Paul Beaudoin, PHD 31 August 2018 at 8:35 am | Permalink | Reply
I wish I had my books with me to check but I well remember that Cage spoke of the courage he received in composing 4’33” after seeing Rauschenberg’s White Paintings. Here it is:
“To Whom It May Concern: The white paintings came first; my silent piece came later.”
John Cage: Preface to “On Robert Rauschenberg, artist, and his work.”
In: Silence. Lectures and Writings by John Cage.
Middletown, Connecticut: Wesleyan University Press, 1973, p. 98.
Cage's silent piece(s): What is your silent piece? - James Pritchett 3 September 2018 at 8:24 am | Permalink
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Kiev wants to nationalize the lottery business of the Russians
Ukrainian lottery market may soon go completely under state control.
Izvestia
Origin source
A group of 11 deputies of the Verkhovna Rada of Ukraine introduced to Parliament a draft law number 2307 "On Amendments to Certain Legislative Acts of Ukraine on introduction of a full state monopoly to conduct lottery business to protect the economic interests of Ukraine." If the bill is actually a private lottery market will cease to exist in Ukraine, in the first place hit by Russian businessmen, owning almost all the Ukrainian lotteries.
One of the authors of the bill, the leader of the Radical Party of Ukraine Oleg Lyashko noted that the adoption of this document will shift profits to 500 million hryvnia (over 1.3 billion) annually from the pockets of private owners to the state treasury. At the same time Ukrainian parliamentarian said that in addition to financial goals bill also pursues the task to "knock out Russian companies with the lottery market in Ukraine."
According to the text of the bill (there are at the disposal of "Izvestia"), the principle of state monopoly on the lottery is the prohibition of the territory stolenus any lottery, except for government, which is organized by state lotteries. Organizer of the state lotteries is a legal entity, which is 100% owned by Ukrainian government.
Back in the late summer of last year the Minister of Finance of Ukraine Oleksandr Shlapak said that about 94% of the Russians control the lottery market in the country. For example, 80 of the 112 operating lotteries in Ukraine (71% market share) owned by LLC "MSL" (with offices in all regions of Ukraine and more than 6.5 thousand. Distribution network points), the owners of which, according to the Ukrainian authorities are Russian industrial shareholders -financial group "Alfa group". Ukrainian lawmakers in the explanatory note to the bill stated that the principal owner of "MSL" LLC is associated with the co-owner of "Alpha groups" Mikhail Fridman Cypriot businessman Marcos Shiapanis.
Another 25 lotteries as said Shlapak in the summer of 2014, or 23% of the market, takes JSC "Patriot", owned by offshore companies is a Russian citizen. This citizen kamembers pointed excited is Oleg Boyko, co-owner of the gambling holding Ritzio International. The remaining 6% or 7 Ukrainian lotteries controlled by private enterprise "UNL", which is owned by private investors from Switzerland and Austria (owned lotteries, "Keno", "Super Lotto" "Lotto Troika", "Loto Maxima" and others.).
Lawyer and Partner of the Law Office A2 Mikhail Alexandrov believes that the State is authorized to transfer this sector under its control.
- For example, in Russia today are the state lottery, while in the 1990s, the Russian market has been a huge number of independent players, including with the participation of foreign capital and foreign owners, - the lawyer said. - Another example is the ban on gambling activities in the Russian Federation when they were closed all the casinos, regardless of to whom they belonged, and, mind you, in international courts nobody addressed.
Simultaneously, Alexandrov said that if Ukrainian law involves not the introduction of a complete state monopoly of the market, and discriminatory measures tlko for companies with Russian owners, then I could have a reason to complain.
Project Director of the lottery "Golden Key" Anatoly Lizdunov considers that remains to be after the adoption of the Ukrainian side of the bill to determine in what way they will implement it. In the case of a rigid implementation of the Ukrainian state can suffer a loss, as are private lotteries.
- The hard option - is to take a close and the work of existing companies, but lotteries market simply collapse. The state will lose more tax deductions. While restoring this area from scratch - a long process. It is necessary to open a large number of terminals, marketing center, to hire a lot of professionals to advertise - Lizdunov said. - It costs a lot of money and effort. But I think there the Ministry of Finance understands everything and go on a drastic measure - rather, they simply will buy existing companies and there is a change of owners.
Moreover, these private companies - operators of lotteries will be in the unenviable situation of having to go to the proud or closingie their projects or sell them is not always at market prices.
Some experts fear that after the lottery business in Ukrainian legislators may want to remove the Russian presence in other sectors of the country.
- They creep up to the Russian property companies, but very carefully, following the example Tymoshenko, who was engaged in these things in 2004-2005. And now they originally probed the ground for such seizure, which is still inevitable. While the test is conducted in such assets, for which the Russian government will not stand up - gambling - said deputy dean of the Faculty of World Economy and International Affairs of HSE Andrew Suzdaltsev. - They look like we sreagiruem. In the future it will be the banks and mobile communications - until it is too serious a swing, but that the attempt to seize Russian assets will inevitably be made - it is 100%.
Russia's economic presence in many areas of Ukraine is essential. For example, in the financial sector in Ukraine there are Russian banks with state participation. onannym Ministry of Finance of Ukraine, as of January 1 this year, the net assets of the Savings Bank of Ukraine amounted to 46.74 billion hryvnia (about 116 billion rubles), the VTB's net assets amounted at 1 January 36.5 billion hryvnia (about 91 billion rubles). In addition, Ukraine is represented and Alfa-Bank with net assets as at 1 January 2015 the amount of 36.7 billion hryvnia (about 92 billion rubles).
Mikhail Fridman
Oleg Lyashko
Alfa Group
The Verkhovna Rada of Ukraine
the Radical Party of Ukraine
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Ray Vincent Adams
United States of America, CO
R.V. Adams
Ray Vincent [Ray] Adams (1952 - 12/03/2013), an American choir conductor (Aspen Choral Society) and composer from Colorado. He began his conducting studies at S.U.N.Y. Fredonia under Harry John Brown. Upon graduation he received his certification as a Registered Music Therapist. In 1976 he moved to the Aspen area and began his studies as a Conducting Fellow with the Aspen Music Festival under Murry Sidlin. Mr. Adams participated in Master Classes with Jorge Mester, Leonard Slatkin and Sergiu Commissiona. One year after his arrival in Aspen, he began conducting choral concerts and his annual Messiah concerts have enjoyed continued success since. He was recently accepted for a two-month residency by the Dorland Mountain Artist Colony in Southern California. The residency will commence in late spring of 2003 and will have Mr. Adams working on his first symphony, The Passions, for chorus and orchestra.
Source: http://www.aspenchoralsociety.org/conductor.html
Ray Vincent Adams (1952 - 2013), born in Brooklyn, New York, was raised in Pearl River, New York, and began his conducting studies at S.U.N.Y. Fredonia under Harry John Brown. Upon graduation he received his certification as a Registered Music Therapist and lived in Texas and New Mexico. In 1976 he moved to Carbondale, Colorado, near Aspen and began his studies as a Conducting Fellow with the Aspen Music Festival under Murry Sidlin. Mr. Adams participated in Master Classes with Jorge Mester, Leonard Slatkin, and Sergiu Commissiona. One year after his arrival in Aspen, he began conducting choral concerts as well as his annual Messiah concerts which after 35 years have become the oldest running holiday tradition in the Roaring Fork Valley.
Source: http://aspenchoralsociety.org/about-aspen-choral-society/ray-vincent-adams/
Period: 21st century
Composed in: 2003
Musical form: mass
Text/libretto: Latin mass + secular texts
Requiem (premi�re: April 2003) is scored for mixed chorus, solo quartet and full orchestra. The text for the work is predominantly drawn from the Latin Mass but also features sacred and secular texts from the many and varied faith traditions practiced around the world.
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Home Guidelines Archive Magazine Press ▼
Forsyth, The Rebirth of Rapunzel (2016)
Kate Forsyth, The Rebirth of Rapunzel: A Mythic Biography of the Maiden in the Tower. Fablecroft Publishing, 2016. Pp 272. ISBN 978-0-9925534-9-4. $29.95.
Reviewed by Cait Coker
I’ve always been fascinated by fairy tales, and the more so when I was old enough to understand the history behind the genre. Though some of the stories find their antecedents in oral folklore, many emerged as part of a literary trend in the sixteenth and seventeenth centuries—a trend that was pioneered by numerous women writers at the French court just prior to the Enlightenment. If you’ve ever wondered why so many tales involve young women who are forced to marry beasts or who are abused by tyrannical step-mothers, it’s because their proto-feminist authors were writing from experience, and the “happily ever afters” that were promised were the ultimate in wish-fulfillment. Kate Forsyth played with both of these elements in her 2012 novel Bitter Greens, interweaving a retelling of the Rapunzel story with that of its seventeenth century author, Charlotte-Rose de la Force. In The Rebirth of Rapunzel, Forsyth revisits both the original tale and her own rewriting of it, and explores numerous other versions of the story along the way. In what she and scholars call a mythic biography, she closely examines the history and transformations of Rapunzel, and what they mean to her as a writer.
The book contains three sections: ‘The Rebirth of Rapunzel,’ which is a scholarly exploration of the Rapunzel tale, and includes an extensive bibliography of retellings; ‘Persinette,’ a reprint of a 1989 translation by Jack Zipes of de la Force’s 1697 Rapunzel text; and ‘Books Are Dangerous,’ a series of short essays on genre by Forsyth, several of which have previously appeared elsewhere. The ‘Rebirth’ section makes up the bulk of the volume, consisting of six chapters of analysis of the Rapunzel tale. Its academic prose is very readable but a little ungainly and repetitive: Forsyth explains more than once Stephen Knight’s concept of mythic biography and similar scholarly ideas in a way that isn’t necessary. She also returns more than once to how she utilized various motifs in writing her own novel that I think will be revelatory to those who have read Bitter Greens; I have not but now I want to pick it up, actually.
Forsyth also describes how she first read the Rapunzel tale as a child in hospital. Through both accidents and illnesses she spent a number of her early years sick and in isolation, and so internalized something of the idea of the lonely girl in a tower. Later on one of her tear ducts was infected such that eventually she was given an artificial glass duct, a surgery that was not only life-saving but connected her even more intimately to the Rapunzel tale’s theme of the ‘healing tears.’ While a number of scholarly treatises on fairy tales have emphasized psychoanalytic readings to show how readers have absorbed and responded to these stories, the way Forsyth writes about them so frankly and honestly lends itself not just to a case study but almost as a literal embodiment of how we interact with story.
Jack Zipes’ translation of ‘Persinette’ in the second section of the book is drawn from his 1989 book Beauty and the Beast and Other Classic French Fairy Tales. Zipes is one of the pioneering academics who started closely reconsidering the fairy tale as a literary form in the twentieth century; his studies include Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales (1979), Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of Civilization (1985), Happily Ever After: Fairy Tales, Children and the Culture Industry (1997), and The Irresistible Fairy Tale: The Cultural and Social History of a Genre (2012), among many others. As Forsyth explains in the ‘Rebirth’ section, Charlotte-Rose de la Force’s version of the story was the first to include all the tropes of what we would consider to be the Rapunzel tale: the parents exchanging the unborn child to a fairy/witch for a plant the mother craves (rampion, better known as parsley but also called Rapunzel), the girl alone in the tower, the hair ladder and the prince, the lovers’ separation and their reunion with the happy tears that heal the blinded prince.
The final section of the book consists of several short essays by Forsyth, all of them reprints of material written between 2006 and 2013. ‘The Birth of Fantasy,’ traces the history of fantasy as a genre back to Andrew Lang, connecting him to J.R.R. Tolkien and C.S. Lewis, and then concluding with a short discussion of George R.R. Martin. It is a short and thoughtful piece, but I think it misses something in only discussing popular male authors; for instance, despite the popularity of Lang’s Fairy books, he was only their editor and not their author, for the bulk of the stories were written by his wife, Leonora Blanche Alleyne Lang. This particular point is not one that is well-known outside of fairy tale studies, but given that there is a connection between both fairy tales and fantasy as being genres that are largely written and read by women with only certain males valorized in the canon, I find this familiar erasure disappointing, especially given Forsyth’s own focus on de la Force.
In contrast, ‘The Birth of Science Fiction’ focuses on Mary Shelley as the founding mother of SF, describing the familiar backstory of Mary and Percy’s vacation with Byron in Polidori and their challenge to each write ghost stories, which concluded for Mary with the writing and later publication of Frankenstein in 1818. ‘The Glass Slipper: A Classic Rediscovered’ is a more biographical piece describing Forsyth’s reading of Eleanor Farjeon’s The Glass Slipper as a child, and her search for and final rediscovery of the book as an adult. ‘Stories as Salvation’ is an earlier version of the first essay in the ‘Rebirth’ section, recounting Forsyth’s childhood illnesses and her discovery of Rapunzel. ‘Fuddling Up My Mucking Words Again’ is another biographical essay chronicling Forsyth’s struggles with stuttering, describing the neurological disorder that causes it and (too) briefly digressing to other well-known authors who were also afflicted, including Lewis Carroll and W. Somerset Maugham. ‘Books Are Dangerous’ describes Forsyth’s adventures in reading as both a child and adult; in a way this is most familiar of the essays because so many of us can clearly recall and empathize with those special books that totally take us out of ourselves. The final essay is ‘Rapunzel in the Antipodes,’ which returns to describing various transformations of the tale. The book concludes with a poem, ‘In the Tower,’ spoken by Rapunzel herself.
Ultimately, The Rebirth of Rapunzel: A Mythic Biography of the Maiden in the Tower is a fascinating and readable collection, and if the material at times overlaps and repeats, the originality of the vast remainder is utterly absorbing. I highly recommend it for anyone interested in fairy tales, genre, or honestly, just writing.
Djibril at 17:00
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Home NBA NBA awards debate: Zion vs. Ja and big MVP questions
NBA awards debate: Zion vs. Ja and big MVP questions
As the NBA prepares for a possible return to play in the midst of a hiatus due to the coronavirus pandemic, which awards races are still in play?
The NBA is expected to approve a return-to-play plan on Thursday, with growing support for a 22-team field that will include regular-season and play-in games to compete for playoff berths in both conference.
Back in March, LeBron James was trying to close the gap in the MVP race with Giannis Antetokounmpo, Zion Williamson‘s return from injury had some believing that he could make it a real Rookie of the Year race with Ja Morant, and there was a deep field of contenders in the other major awards.
Our experts break down ESPN’s latest awards projections, the races they’re most interested to watch, which rookie star they’d rather build around and the big MVP questions.
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1. Which awards race are you most interested to watch, assuming there are additional regular-season games?
Kevin Pelton: Rookie of the Year, because the players involved will be playing more meaningful games. I’m not sure whether voting would be held before or after a possible play-in tournament, but either way Zion Williamson and the New Orleans Pelicans would be jockeying for position in that tournament, whereas a shortened regular season would make it difficult for the Los Angeles Lakers to catch the Milwaukee Bucks and possibly swing the MVP race.
Tim MacMahon: I can’t say that I anticipate anything happening in a handful of regular-season games that would change my vote for any of the awards. I guess I’ll go with ROY simply because, like the league office, I’m excited to see more Williamson. But Morant’s body of work is too impressive for someone who has played a fraction of the season to steal the trophy.
Bobby Marks: Coach of the Year. There is a field of 10 who can win the award for top coach. Mike Budenholzer in Milwaukee and Frank Vogel of the Lakers have the two best teams, but the Billy Donovan (Oklahoma City Thunder) and Nick Nurse (Toronto Raptors) have exceeded expectations. Nate McMillan (Indiana Pacers), Erik Spoelstra (Miami Heat), Taylor Jenkins (Memphis Grizzlies), Doc Rivers (LA Clippers), Mike Malone (Denver Nuggets) and Brad Stevens (Boston Celtics) all could receive first-place votes.
Andre Snellings: MVP. Antetokounmpo had been in the driver’s seat all season, but during the final few weeks before the shutdown, James was making a surge. Presumably, the added rest and attenuated schedule should allow Antetokounmpo to finish strong, but it will be interesting to see if James can heat up this debate.
Tim Bontemps: It’s hard to see any of them changing because of a few games in Florida, but I would be curious to see if Giannis would be able to secure the double of Defensive Player of the Year and MVP in the same season — something that only Hall of Famers Michael Jordan and Hakeem Olaujuwon have done.
2. Zion Williamson or Ja Morant: Which rookie would you rather build a team around?
Bontemps: Morant. There’s no question Williamson is a hell of a talent, but the concerns about his long-term health — plus the potential complications that come with building around a 6-foot-6 center, which very well could be his long-term position — make me tip the scales in Morant’s favor. Having a dynamic ball handler to build around without those same injury concerns (though Morant does scare me every time he flies in the air for a highlight dunk) makes him my choice.
Pelton: Williamson. While there are understandable concerns about his health and durability long term, Williamson was clearly the better prospect entering the draft and has been dominant while on the court this season — not by rookie standards, but for just about anyone.
MacMahon: I believe they both have superstar potential, but if I have to pick one over the other for the long haul, it would be Williamson. He’s just such a unique talent. The closest we’ve got to seeing this sort of power/athleticism/skill combo is Hall of Famer Charles Barkley — and Williamson is bigger and more explosive.
Marks: Williamson has the potential to be a franchise player, but I saw firsthand in New Jersey with Hall of Famer Jason Kidd the impact a point guard can have with a team. Morant has already turned a Memphis squad many predicted would finish at the bottom of the Western Conference into a team contending for a playoff spot. He’s my pick.
Snellings: I’d rather build around Williamson, just because he’s the more unique talent. Morant is exciting, and his combo of skills and athleticism makes his upside brilliant, but Williamson has the once-in-a-generation upside for his class. The total package of his physical gifts, skills, upside and charisma could allow him to grow into both an MVP and an ambassador for the game who can carry a franchise to the heights.
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3. Of the major awards candidates, whose emergence has you most impressed right now?
Snellings: Bam Adebayo, because his push for Most Improved Player has corresponded with him growing into a franchise-caliber big for the new era. In a league where the traditional post player has been devalued, Adebayo has been able to establish himself as a mobile defensive disruptor in the middle while still contributing in versatile ways on offense.
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Bontemps: There were plenty of people in the NBA who thought Adebayo would be a good player for the Heat once they got Hassan Whiteside out of his way. But I’m not sure anyone was quite sure Adebayo would be this good. As Miami tries to build its next true championship contender, it is actually Adebayo — and not Jimmy Butler — who should be Miami’s biggest selling point to lure another star player to the shores of Biscayne Bay.
Pelton: Brandon Ingram. Ingram’s development as a shooter this season has been unexpected and crucial to his value. He’s attempted 3s more than three times as often compared to last season, while making them at a career-high 39% clip. Ingram has also gone from a sub-70% free throw shooter each of his first three seasons to 86% at the line this season.
MacMahon: The Greek Freak’s rapid rise from a skinny, mysterious project who lasted until the middle of the first round in 2013 to a historically dominant force shouldn’t be taken for granted. If these projections are right, Antetokounmpo will have a couple of MVPs and a Defensive Player of the Year award before his 26th birthday. And he just might have a championship, too.
Marks: Dennis Schroder, who has gone from starting 145 games in Atlanta during the 2016-17 and 2017-18 seasons to accepting a role of coming off the bench for the Thunder. While his points (19.0) and minutes (31.0) are nearly identical to his last season with the Hawks, Schroder has come off the bench in all but one game this season and is having his most efficient career performance.
4. Fact or fiction: LeBron James and James Harden have won their last MVP awards.
Marks: Fiction. Unless James is retired, I will never count him out when it comes to competing for MVP. Harden is still in the prime of his career and has averaged 30.4, 36.1 and 34.4 points in the past three seasons, respectively. There is no sign that the shooting guard cannot continue at that pace in the future.
Snellings: Fiction. James is older (35 to Harden’s 30), but he very easily could have won this season’s MVP award, and there’s no reason he couldn’t make a similar push next season. And Harden’s game relies so little on athleticism that he could play at this level for the next handful of seasons, easily. Between the two, odds are that there is at least one more MVP award forthcoming.
Bontemps: I’ll say fact, for the simple reason that both James and Harden are on the wrong side of 30. In addition to that, as younger stars such as Antetokounmpo, Luka Doncic and Anthony Davis continue to put themselves in these conversations, they are more likely to win MVPs on a year-to-year basis.
Pelton: More fact than fiction. Given James’ age, if he doesn’t win it this year, the difficulty goes up considerably each season. Harden now has to contend with splitting scoring and possibly even votes with Russell Westbrook. But I wouldn’t rule out another MVP for one of the two players.
MacMahon: I sure wouldn’t put my paycheck on that. They’re both perennial MVP candidates, and Antetokounmpo isn’t going to win it every year. Harden, the best scorer of his generation, is in the middle of his prime and manages to add something to his game each summer. James keeps defying nature by showing no decline this deep into his career. I’m not sure they’ll both win another MVP, but the odds are at least one or the other will.
5. Who will be the next first-time MVP winner?
MacMahon: At the risk of being accused of local bias: Luka Doncic. Not that it’s a controversial pick. The kid couldn’t even legally buy a beer in the United States until February, and he’s already flirting with averaging a triple-double for a playoff team. There’s still plenty of room for improvement, particularly with his 3-point shot (31.8%) and continued chemistry development with co-star Kristaps Porzingis, and the Mavericks might be a piece or two away from being bona fide contenders.
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• Full list of cancellations, suspensions
Marks: The easy answer is Doncic. However, Anthony Davis has put together an MVP-type season that is overshadowed by the play of Antetokounmpo and LeBron James. If Davis can stay healthy (a big if) and the Lakers continue to sit atop the Western Conference standings for the next three seasons, Davis should have his first MVP trophy in the near future.
Snellings: Close battle between Nikola Jokic and Luka Doncic, with Anthony Davis and Philadelphia 76ers center Joel Embiid on the fringe. Davis is right at his peak, but James’ presence limits him. Embiid has the talent but hasn’t put it all together for a full season yet. Doncic is electric and a legitimate MVP candidate already, but I’m not sure the Mavericks will make the jump to contention that is required for an MVP. Jokic, on the other hand, has played at near-MVP level for multiple seasons. The Denver center is young enough to continue to improve, and his team could legitimately battle for the best record next season to make him an MVP front-runner.
Bontemps: There are really only two front-runners here: Davis and Doncic. My pick will be Doncic, as Davis will likely be playing next to James for the foreseeable future, while Doncic is the face of his franchise. Given that he already is likely to finish among the top five in MVP voting in his second season in the league, there’s every reason to think that Doncic will be collecting the hardware for himself sometime in the near future.
Pelton: Doncic. For Doncic to be in “the conversation” (he’s fifth on my ballot at the moment) at age 21 portends MVPs in his future, and perhaps sooner rather than later.
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ST. CECILIA’S HALL – voted as winner in the 2015 BroadwayWorld Philippines Awards
St. Cecilia’s Hall of St. Scholastica’s College was awarded as the Best Theatrical Venue by the 2015 BroadwayWorld Philippines. Named after the patron saint of music, the hall was built under the supervision of the engineering firm Pedro Siochi and Co. and was designed by the eminent Filipino architect, Andres Luna de San Pedro in 1932.
Originally conceived of as the recital hall of the SSC School of Music, St. Cecilia’s Hall became a leading concert venue for numerous local and international artists and was declared a National Cultural Landmark by the National Historical Commission a year after the theater was renovated in 2000. The hall, which is now being used as a popular venue for musicals and shows, bested other nominees in this category, namely, Tanghalang Nicanor Abelardo and School of Design and Arts Theater.
BroadayWworld Philippines is the country’s counterpart of a network of websites which features local theater listings, reviews and sponsors its annual theater fans’ choice awards, which named St. Cecilia’s Hall as one of its winners from a recently concluded poll. Starting out as the largest theater site covering London’s West End, BroadwayWorld.com has been recognizing theater acts from various international cultural centers including the Philippines.
by Prof J. Greg Zuniega
2015 BroadwayWorld Philippines Awards Winners Announced!
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Russia: Over 30 killed in Israeli airstrikes on eastern Syria — media
MOSCOW, January 13. /TASS/: At least 31 people were killed in airstrikes carried out by Israel in eastern Syria, Al Arabiya TV channel reported on Wednesday citing the Syrian Observatory for Human Rights, a London-based NGO.
Earlier reports said 23 people died.
According to the NGO, the Israeli Defense Forces launched a series of airstrikes early on Wednesday on weapons depots and Syrian military positions in the outskirts of Deir ez-Zor and Al-Bukamal near the Syrian-Iraqi border.
The Israeli Defense Forces’ press service declined to comment on the reports of airstrikes in eastern Syria.
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ABOUT THE 4
VH AWARD
작성일자 2020년 11월 24일 2021년 1월 12일 글쓴이 fcompany88
THE 1ST AWARD (ENG)
WINNING WORKS
JE BAAK, A Journey
In A JOURNEY the viewers travel around the surrealistic world filled with symbols alike innocent children’s inquiries. The artist transforms the virtual reality in RPG games into the place of contemplation, and allows the viewers to experience the world full of symbolic elements and situations in the perspective of a traveler, and by doing so, he poetically expresses the various questions that the viewers encounter during their training in a journey called ‘life’.
SUNGJAE LEE, Avyakrta
moving painting, 3min 23sec
The mountain viewed from distance may feel serene and slow, yet the small and fast elements comprise parts of a mountain and thus form the whole. Likewise, AVYAKRTA is composed of small elements such as humans and trees, which move at gradual pace within abstract structure. The artist applies the technique of high speed cinematography in his artwork to represent the long-term process of transformation of human body and mind, and constant and eternal relationship between individuals and groups.
SUKJOON JANG, Flatcity
The modern cityscape enclosed within the flat computer screen is perceived with the zooming in and out activities with mouse scrolling movements. Using a drone camera as its tool, FLATCITY mimics the movements of getting closer and drifting away that are captured in the virtual reality within online map system. Images recorded in various locations are divided by each coordinate’s frame, and perpendicularly ambulate between the parts and whole of scenery to draw a novel, sensuous media-landscape.
HOUNGCHEOL CHOI
Curator at the National Museum of Modern and Contemporary Art, Seoul, Korea
Choi Houng-Cheol is currently a Curator of MMCA Korea and Project Director of Banjul-Schale. He was granted B.F.A.(1996) and M.F.A.(1998) at Department of Sculpture, Seoul National University and studied Art Theory at the Graduate School of Kookmin University for PhD from 2011 to 2013. He actively worked on diverse exhibitions and projects since 2001. His works are mainly about contemporary art and media. Latest exhibition curated by Choi is ‘Supernature’ at MMCA, Seoul in 2014. One of his main exhibitions A Night on the Galactic Railroad at Nampo Museum of Art, Goheung was held in 2013 and the other one, Museum Link Exhibition Bad Romanticism was held in ARKO Art Center in 2011. He also worked on the 5th Seoul International Media Art Biennale (media_city seoul 2008), at Seoul Museum of Art in 2008. He also covered various subjects in other projects and exhibitions.
LAUREN CORNELL
Curator at the New Museum of Contemporary Art, New York, USA
Lauren Cornell is co-curator of the 2015 New Museum Triennial: Surround Audience. From 2005-2012, she served as executive director of Rhizome and adjunct curator at the New Museum, where she organized exhibitions including Walking Drifting Dragging, Free, and served as part of the curatorial team for the inaugural Triennial in 2009. At the New Museum, Cornell has also produced performance and live events with dozens of artists including Xavier Cha, Jill Magid, Trevor Paglen, and, in 2010, she founded the annual conference Seven on Seven. From 2002-2004, she served as executive director of Ocularis, a former microcinema in Brooklyn. She is co-editor, with Ed Halter, of the forthcoming book Mass Effect: Art and the Internet in the 21st Century (MIT Press/ New Museum, 2015), and has contributed to publications including Frieze, Mousse, LTTR, North Drive Press and The Paris Review. Since 2013, she has been on the faculty at Bard Center for Curatorial Studies.
MARTIN HONZIK
Head of Ars Electronica Festival, Linz, Austria
Martin Honzik is an artist and director of Ars Electronica’s Festival, Prix and Exhibitions divisions. He studied visual experimental design at Linz Art University (graduated in 2001) and completed the master’s program in culture & media management at the University of Linz and ICCM Salzburg (graduated in 2003). From 1998 to 2001, he was a member of the production team at the OK Center of Contemporary Art. In 2001, he joined the staff of the Ars Electronica Future Lab, where, until 2005, his responsibilities included exhibition design, art in architecture, interface design, event design and project management. Since 2006, Martin Honzik has been director of the Ars Electronica Festival and the Prix Ars Electronica and in charge of the exhibitions in the Ars Electronica Center as well as Ars Electronica’s international exhibition projects. His recent achievements in addition to numerous art projects (e.g. Ganz Linz, Vernichtungsaktion), include co-founding the u19 – CREATE YOUR WORLD festival for young people and serving as head of production and director of the 2012 Voestalpine Klangwolke.
© 2021 VH AWARD: Asia’s Leading Award For Media Artists. All Rights Reserved
The 4th VH AWARD Executive Office MAIL: vhaward2021@gmail.com
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Seatmaps
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David Jack, Ph.D.
David Jack - Assistant Professor
The demand for lightweight, durable, composites has been the focus of industrial research for many years due to their exceptional strength to weight ratio. With recent advances in the fabrication of materials with multi-scale inclusions, it is becoming increasingly important for the design engineer to have accurate and effective tools to aid them in the creation of advanced multifunctional products. The demand for accurate process and product prediction methods has significantly increased, both with the demand for high performance materials and with the desire to reduce production costs.
My research focuses on the analysis and design procedures that effectively, and efficiently, represent the relationship between the processing conditions and the final product performance for composites fabricated from a wide variety of engineering inclusions. My work spans the size spectrum, from the nano- to the macro-, and covers industrial applications ranging from niche military aerospace multifunctional aircraft panels to large volume, low price, automotive components.
I have developed approaches for physics-based predictive schemes for processing a composite product fabricated through injection, extrusion, or compression molding. There have been a wide variety of processing models developed during the last century for predicting inclusion orientation, but it is well understood that existing models drastically over predict the alignment rate. In addition, the most effective models are formulated exclusively for rigid inclusions, neglecting inclusions of current interest to the industry such as long glass/carbon fibers, carbon nanotubes, and of unique interest to Baylor, renewable coconut fibers.
Bachelors of Science - Mechanical Eng. Colorado School of Mines, 2001
Bachelors of Science - Engineering Physics Colorado School of Mines, 2001
Masters of Science - Mech. and Aero. Eng. University of Missouri, 2003
Masters of Science - Applied Mathematics University of Missouri, 2006
Ph.D. - Mech. and Aero. Eng. University of Missouri, 2006
American Institute of Aeronautics and Astronautics Senior Member (since 2012)
American Society of Mechanical Engineers, Full Member (member since 2003)
Society of Petroleum Engineerings (member since 2012)
Society of Polymer Engineers, Senior Member (member since 2003)
Sigma Xi, Full Member (member since 2005)
Society of Rheology, Full Member (member since 2005)
Tau Beta Pi (member since 1999)
Over 15 peer reviewed articles in the top ranked composites, rheological and nano journals (for the complete list, select the publication list).
Over 40 peer reviewed articles in various conference proceedings (for the complete list, select the publication list).
Has received funding from the National Science Foundation (NSF), Air Force Office of Scientific Research (AFOSR), National Aeronautics and Space Administration (NASA), L-3 Communications, Hess Inc., Baylor University's Undergraduate Research and Scholarly Achievement Program (URSA),and Baylor University's Undergraduate Research Committee (URC).
B.E.A.R.S. Best Presentation. Voted by the Baylor Engineering Graduate Students as "Best Presentation" by an ECS faculty member, 2009.
Very Effective Faculty Member (Greater than 90% "Excellent" ranking on student evaluations), Florida State University, Spring 2009.
Preparing Future Faculty Fellow (2005-2006).
Full Member of Sigma Xi, Scientific Research Honor Society (2006).
National Dean's List (2004).
GAANN Research Fellow, U.S. Department of Education (2003-2007).
Outstanding Graduate Student, Mechanical and Aerospace Engineering, University of Missouri - Columbia (2003).
Highest Academic Honors, Colorado School of Mines (2001).
Outstanding Undergraduate Student, Engineering Physics, Colorado School of Mines (2001).
Member of Tau Beta Pi, Engineering Honor Society (1999).
Academic Appointments
Asst. Professor - Mechanical Engineering, Baylor University 2009 - Present
Visiting Asst. Professor - Florida State University, 2007 - 2009.
Post-doctoral Research Fellow - University of Missouri, 2007.
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Sin City: A Dame to Kill For (4/5)
At this point everyone hates Frank Miller. You hate Frank Miller. I hate Frank Miller. All your friends hate Frank Miller. Your grandmother, if she knows who he is, probably hates Frank Miller too. After many years of contributing to the development of American comic books, Miller’s talent and credibility hit a serious wall sometime in the 21st century. His output has been so bad that people have started to wonder whether or not he was ever talented. To top it all off, in addition to putting out lazily written drivel, he also released a bizarre anti-Occupy Wall Street rant that fully revealed his inner neocon. Miller’s politics were never exactly subtle—in fact, if one of his characters came upon nuance, he would have likely socked it in the jaw—but there was a certain complexity to his political positions, which often camped out somewhere in the borderlands where liberals and libertarians have achieved an uneasy truce. So judging merely by Miller’s involvement, there was little reason to be optimistic about a long delayed sequel to the original Robert Rodriguez and Frank Miller collaboration, Sin City.
But, surprisingly, Sin City: A Dame to Kill For has turned out to be a worthy sequel to the stylish and brutal original. Despite the diminishing quality of both Miller and Rodriguez’s work in recent years, there must be something about working together that brings out the best in both artists. Like the first movie, A Dame to Kill For is split into several distinct but vaguely interrelated tales. Two of the film’s stories, the eponymous “A Dame to Kill For” and “Just Another Saturday Night,” are taken straight from Miller’s funny books where the other two, “The Long Bad Night” and “Nancy’s Last Dance,” were written by Miller exclusively for the film. The events of Dame occur before and after the events of the first film, making it a sort of pre-sequel and allowing Miller and Rodriguez to resurrect fan favorite characters like Marv.
“Just Another Saturday Night” is little more than a cynical smirk of a story that serves to set the stage for the rest. The film’s meatiest tale is the titular “Dame to Kill For.” Taking over for Clive Owen, Josh Brolin plays Dwight who gets pulled back into a world of seduction and double crosses by his old flame, Ava. Played by Eva Green in various stages of undress (she’s French), Ava is the femme fatale turned up to eleven. Able to transform herself into varying female archetypes so she fits the desires of any single man, Ava is a consummate manipulator.
The femme fatale standard is highly problematic, but in certain films she has been made to symbolize female agency within a patriarchal world. It would be difficult to redeem Ava, and there’s no confusing the writing of Frank Miller for a feminist treatise, but I’m not quite willing to call Miller an outright misogynist. (Perhaps Ava’s ability to transform herself is a critique of the kinds of boxes men wish to box women into?) And to complicate matters somewhat, A Dame to Kill For brings back the women of Old Town, an area of Sin City controlled and policed by its resident prostitutes. If anything, A Dame to Kill For arguably tests the limits of third-wave feminism.
The two stories written specifically for Dame feel a little trim compared to those first written for the page. In the first Sin City, there was a sense that each individual yarn could have been expanded into its own film, which is not the case in the sequel. “The Long Bad Night” follows the preternaturally lucky Johnny (Joseph Gordon Levitt) as he weasels his way into a high stakes card game and makes enemies of the unrelenting big bad, Senator Roarke (played with gusto once again by Powers Boothe). I naturally love the noir inspired irony that for someone with unerring luck, Johnny still has a horrendous time in Sin City. (I also thoroughly enjoyed the scene stealing cameo from Christopher Lloyd.) By contrast, “Nancy’s Last Dance,” a more direct sequel to the first film, suffers somewhat. The story of Nancy Callahan (Jessica Alba) and her attempt to avenge the death of police officer and her savior, John Hartigan, played once again by Bruce Willis, only this time, well, dead, seems too undercooked to have much of an impact.
If A Dame to Kill For lacks some of the more memorable elements of the original—a dead Benecio Del Toro speaking from the grave while part of a gun sticks out from his head or Elijah Wood’s trophy room—each story seems to slide into the next more easily for a more cohesive whole. Plenty of critics have claimed the film has come too late and audiences are used to its box of tricks by now. I impolitely disagree. Dame may not be as good as the first film, but I think it injects something much needed into today’s genre of comic book movies: a sense of visual experimentation.
Here Rodriguez expands on what he accomplished in the original film, mixing in metaphorical images of a tiny Johnny sliced apart by Rourke or staging a car chase around Marv’s head as he remembers what happened earlier in the night. If anything, today’s comic book films are far more conservative visually then they were a decade ago or more ago. Marvel, the most financially successful maker of comic book films, appears to be uninterested in fusing the distinct visuals of film and comic books lest it muss up their plans for franchise domination. (I wouldn’t be surprised if this was part of the reason for the departure of Edgar Wright, a unique visual stylist, from Ant Man). Compare the relatively safe imagery of the Marvel films to the hyperkinetic camera movement of Sam Raimi’s Spider-Man movies, or the disorienting use or split screen in Ang Lee’s Hulk, or, to stretch back farther, the infusion of German Expressionism into Tim Burton’s Batman films. Hell, even the now forgotten 90s superhero film The Shadow has some wonderfully bizarre imagery that would be deemed too out there in 2014. I’m a fan of Marvel’s movies, but I’m also somewhat nostalgic for that period of time in the aughts when comic books were providing a new template for what was possible in Hollywood films. In 2005, the original Sin City seemed like the culmination of a series of experiments, but in 2014, A Dame to Kill For seems wholly singular.
Labels: comics, movies, review
Star Wars: Knights of the Old Republic (4.5/5)
In the summer of 2003, Star Wars fans were attempting to recover from the one, two groin kicks that were Episode 1 (1999) and Episode II (2003). While I’m sometimes inclined to defend segments from those movies, I also remember being exhausted by the cycle of anticipation and disappointment that accompanied the first two prequel films. The Star Wars galaxy was starting to feel stale at that point, and after two disappointing films many fans of George Lucas’s adventures far, far away were becoming a little despondent. It’s around this time that Knights of the Old Republic, the first Star Wars role playing game, came out and reminded a generation of players why they fell in love with Star Wars to begin with.
Unlike most Star Wars games, which often take place concurrent with the most recent film, Knights of the Old Republic (KotOR) escapes the tricky issue of continuity by taking place 4,000 years prior to the events of the original trilogy. Originally, the game was supposed to tie into the world of the second trilogy, specifically Episode II which was in production at the same time. However, Lucasarts gave the developers, Bioware, the option to set their game in the distant past, which they smartly chose to do. This shift in time allows the creators of KothOR to craft a Star Wars game without worrying about questions of continuity or relevance to George Lucas’s more recent cinematic creations. In other words, KotOR rebuffed corporate synergy in order to achieve a sense of artistic integrity. But despite the drastic temporal shift, KotOR wound up capturing the essence of Star Wars better than the prequels, much less most Star Wars videogames.
The freedom inherent in setting KotOR thousands of years prior to the original trilogy allowed Bioware to superimpose the motifs and archetypes of Star Wars onto a new and exciting world. Like most RPGs, in KotOR you are able to pick and choose elements of your main character, including gender and general appearance. The class system also generally conforms to the archetypes used by Lucas in the Star Wars films, an element of the game that extends to the varying characters that join your party throughout the game. In addition to your self-made main character, you also get to control a soldier (Carth), a Wookie (Zaalbar), a resourceful street urchin (Mission), a Mandalorian warrior (Canderous), a handful of Jedis (Bastila, Juhani, Jolee), and a couple of droids (T3-M4 and HK-47).
Not every character is great (Carth can be awfully whiny for a soldier), but every player will have his or her favorites (I was always partial to the cantankerous Canderous and the gruff Jedi loner, Jolee). But more importantly, these characters fit nicely within the world of Star Wars, judging by much of the extended universe, a more difficult task than you might imagine. You could easily split the characters into those who serve to maintain order in the galaxy and those who live in the shadows of the two warring factions of the Republic and the Sith. In other words, they’re either rogues or acolytes, the same tension that exists between Luke Skywalker and Han Solo in the Episode IV.
KotOR also captures the visual essence of Star Wars. In particular, they replicate the scope and sense of the infinite in the world of Star Wars. While you can only explore a relatively small fenced in portion of each planet, the use of a horizon, whether it’s the dunes of Tatooine or the unending plains of Dantooine, gives you a sense of the infinite. This extreme scope has always been an integral aspect of Star Wars, from the initial invocation of a galaxy “far, far away” to the seemingly unending pit Palpating is drop into at the end of Return of the Jedi. And yet, so few video games have managed to really capture this visual and thematic element of the Star Wars films.
But BioWare wasn’t just content with capturing the essence of Star Wars; they also wanted to revamp the role playing genre. For many years RPGs had been associated with turn based fighting and somewhat tedious class, weapons and magic management. And while KotOR has maintained those core elements, they have also made the genre far more cinematic. KotOR was released shortly before World of Warcraft, and like those similarly detailed MMORPGs it helped usher in the immersive qualities to the genre. There’s no switching perspective as you move from the world map to the dungeons to the battles. Instead, everything maintains a fluid third person view. And unlike the MMORPGs and RPGs of the same era, there’s less emphasis on tedious fights and minigames. There’s a limit to how far your characters can level up, and you can only get into so many battles on each planet. In other words, you won’t find yourself wandering around for hours on end trying to find more random monsters to fight. In order to emphasize story, the game makes it easier to level up by completing tasks for non playable characters rather than randomized battles. Many of the side quests are related to characters in your party, making them more central to narrative elements like plot and characterization. All of these aspects help reinforce the game’s cinematic qualities, which seems especially fitting for a Star Wars game.
There are numerous aspects of the game that add to its replayability (that is, if you have the patients to replay a game that can take upwards of fifty hours to complete). In order to mirror the choices made by Anakin and Luke Skywaler, the main character must choose to serve either the dark or light side of the force, a decision made through a number of choices throughout the game. BioWare made the dark side of the force suitably enticing, since it often leads to more fights and easier solutions. There’s a really fun assassination subplot that you must take on a few dark side points if you want to complete it. You’re also given some freedom as to which planets you want to visit in what order, but of course there’s still a correct way of completing the game if you want to gather every character and finish as many side quests as possible (Tatooine, Kashyyyk, Manaan, and Korriban).
The enticing possibility that you could play as a hero in the Star Wars universe has lead plenty of fans to buy subpar Star Wars games, so there’s something especially powerful when a Star Wars video game chooses not only to capture the sense of fun and adventure of the best films but also in general expands on what the medium can accomplish. In some ways, KotOR reinforces the power of myth and archetype inherent in Lucas’s Star Wars by transporting the actions to a different time while maintaining the core aspects of that galaxy far, far away.
Quick spoiler warning: From here on out, I’m going to discuss a major plot twist in the game and its general importance to the genre and the themes of Star Wars.
As I mentioned earlier, at the start of the game you go through the process of creating your main character, choosing the gender, class and abilities of your blank slate. Well, the main character has more of a history than you might imagine. As the story goes in KotOR, the Republic is in a life or death struggle against the forces of the Sith, currently lead by a former Jedi Darth Malak. Malak’s mentor used to be Darth Revan, also a fallen Jedi. But Revan was defeated prior to the game by the Jedi Bastila. We’re lead to believe that Bastila has killed Revan, but in a twist reminiscent of the “I am your father” scene from The Empire Strikes Back, it turns out that Revan wasn’t killed; rather, he was captured by Bastila and turned over to the Jedi council who decided to wipe his memory in order to bring him back to the light side. In fact, the character you created at the beginning of the game is Revan, so you have been playing as the dark lord this entire time without realizing it.
There are a few implications to this reveal. The tabula rasa origins of your character has long been a staple of the RPG genre. But the Revan twist adds a meta aspect to the creation of the main character. Just as you have conjured the elements of the main character out of thin air, so too has the Jedi council. In other words, at the beginning, rather than just going through the normal motions of character creation, you are, unwittingly, in the role of the Jedi council remaking Revan from the ground up.
The Revan reveal also adds a layer of truth to your dialogue choices. While playing your character it is possible to veer from being kind hearted to callous in the blink of an eye. Character inconsistency was always nagged me in games where you are given branching dialogue options. Where most critics focus on ways in which dialogue options do or do not appropriately transform a game’s narrative, few focus on how these dialogue options allow you to craft your own unique character. Of course, this makes little sense if you can be altruistic one minute and vicious the next. But knowledge that you used to be Darth Revan actually explains your character’s extreme bi-polar disorder: any acts of evil can be chalked up to your history as Revan bubbling to the surface, even if you are trying to follow the light side.
Finally, the story of Revan and Malak ties nicely into one of the stronger aspects of the prequel trilogy. Prior to the battle between the Republic and the Sith, the Jedi were involved in a war against the Mandalorians. As Jedis, Revan and Malak managed to defeat the Mandalorians, but in doing so they adopted a tough uncaring attitude towards casualties. It is suggested, then, that the necessity of victory may have forced Revan and Malak to turn towards the dark side. Although KotOR was released prior to the completion of the prequel trilogy, Malak and Revan’s turn to the dark side seems to echo some of the themes from Episodes II and III. Throughout the prequels, it is suggested that the Jedi have lost their way, in part because they have abandoned their role as peacekeepers in favor of becoming warriors, a choice that makes sense in their given situation, but is ultimately their downfall. And, of course, the real threat behind the Clone Wars, Palpatine, has engineered it so that no matter which side becomes the victor, he will be the ultimate winner. Both the prequel trilogy and KotOR illustrate the corrupting nature of warfare.
Labels: review, Star Wars, video game
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Tag: PAULA DELSOL
COLLIN, FRANÇOISE
Françoise Collin
“Chronique d’un été”—“Chronicle of a Summer” — with her name misspelled.
Françoise Collin began working in 1961 as a co-editor (with Jean Ravel and Néna Baratier) of Chronique d’un été/Chronicle of a Summer, the landmark film by Jean Rouch and Edgar Morin. Between then and 2006, she amassed thirty-two credits for both narratives and documentaries. Her collaboration with Jean-Luc Godard began in 1964 as a co-editor (with Dahlia Ezove and Agnès Guillemot) of Bande à part/Band of Outsiders. Following this, she was co-editor of Une femme mariée/A Married Woman (with Andrée Choty, Agnès Guillemot and Gérard Pollicand). Collin was sole editor of Godard’s next film, Pierrot le Fou and then co-editor of Made in U.S.A. (with Agnès Guillemot) and co-editor of 2 ou 3 choses que je sais d’elle/Two or Three Things I Know About Her (with Chantal Delattre).
Collin continued editing with numerous other directors, including Jean Aurel, Pierre Koralnik, José Varela, Anna Karina and François Dupeyron. Between 1999-2005, she edited three films for Philippe Garrel (Le vent de la nuit/Night Wind, Sauvage innocence/Wild Innocence and Les amants réguliers/The Regular Lovers). When Collin cut Histoire naturelle for the director and actress Ysé Tran in 2006, it was the culmination of an editing career that lasted forty-four years.
There is also one listing on the (often unreliable) internet of a documentary from 2011, Rua Diamantina Rosa, that lists her as the director but I haven’t found any other evidence to support it, and a different website spells the director’s name as Coullin.
Note: You can read more about the seventeen women editors who collaborated with Jean Rouch here.
There isn’t a single photograph of Collin to be found in any archive or anywhere online. One can find images online, but they’re all of a same-named French philosopher. So here instead is the screen credit from her first film—above, in which her name is misspelled —and one from a later film.
“Une femme mariée” — “A Married Woman”
It’s notable here that she gets a credit on the poster. Often they only list the DP and the composer, in addition to the director and the actors.
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Tag: The Gunfighter
McLEAN, BARBARA “BOBBIE”
Barbara “Bobbie” McLean
Barbara “Bobbie” McLean has sixty-two film credits. From the 1930s through 1960s, she was 20th Century Fox’s most conspicuous editor and went on to be the head of the editing department and was known in trade publication columns as “Hollywood’s Editor-in-Chief.” McLean received more Academy Award nominations than any other editor during her lifetime (for Les Misérables, Lloyd’s of London, Alexander’s Ragtime Band, The Rains Came, Song of Bernadette, Wilson, and All About Eve). She won the Oscar for Wilson in 1945. Her total of seven nominations was not surpassed until 2012 by Michael Kahn. She also edited Fox’s first venture into Cinemascope, The Robe. Among many other honors, McLean received a Career Achievement Award from ACE. In the obituary published in The Independent, Adrian Dannatt described McLean as “a revered editor who perhaps single-handedly established women as vital creative figures in an otherwise patriarchal industry.”
“I could get to every department and do everything, even to do a good deal of working on music…You’d go on the scoring stage when they’d do the music, to see what he would be doing. You were there watching out for your own good. You know, to know how everything was going to fit. Each thing you learned a little more.”
“Sometime later, McNeil [another editor] had her accompany him to the projection room while Zanuck viewed the rushes with the editor. McNeil was supposed to take note of Zanuck’s comments and discuss things with him, but he never wrote anything down and, as McLean stated, “would forget it or something.” When Zanuck complained, “Why don’t you do what I told you to do?” McNeil tried blaming McLean for not making a note of it. McLean, tired of being ignored and pushed to the other side of the room behind a tiny desk, was livid. “Now look, Alan, don’t you pass the buck to me,” she shot back across the room. “I can’t hear what Mr. Zanuck tells you. Now, if you can’t remember it, don’t you blame it on me.” As McLean recalled tartly, “From there on, Zanuck would yell the notes out so I could hear them. I suppose that’s how he finally discovered that if I could hear, then we would do the changes.” McLean’s grit won her the right to cut the well-named Gallant Lady herself—the first time she received sole credit. Bobbie, a fine sailor in her rare moments away from the editing room, celebrated by christening her new craft Gallant Lady.”
“McLean’s summary of editing was essentially ‘making filmed matters seem better than they are.’ So much for the auteur theory.”
— Three excerpts from “Barbara McLean: Editing, Authorship, and the Equal Right to Be the Best” by J. E. Smyth. The full text can be found in the Appendix.
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الرئيسية/English Section/Pakistan widens execution policy
Pakistan widens execution policy
More than 8,000 prisoners are believed to be on death row in Pakistan
Pakistan is to resume executions for all death penalty offences, months after a moratorium was partially lifted to allow executions of terror convicts.
All condemned prisoners who have exhausted the appeals process and whose pleas for clemency are rejected now face execution, officials say.
Executions were suspended for seven years until some resumed after the Peshawar school massacre in December.
More than 8,000 people are on death row in Pakistan, human rights groups say.
About 1,000 have lost their appeals and had clemency petitions rejected, a senior official quoted by AFP news agency said.
The BBC’s M Ilyas Khan in Islamabad says it is not clear why the moratorium has been lifted at this time.
The move, which ends a seven-year-long suspension of executions in Pakistan, was condemned as “irresponsible” by human rights law firm Justice Project Pakistan.
Massacre outrage
“We’ve seen time and time again that there is immeasurable injustice in Pakistan’s criminal justice system, with a rampant culture of police torture, inadequate counsel and unfair trials,” said executive director Sarah Belal.
“Despite knowing this, the government has irresponsibly brought back capital punishment.”
More than 150 people, all but nine of them children, died in the Taliban attack on the Army Public school in Peshawar. The massacre triggered national outrage.
Pakistan has hanged more than 20 prisoners convicted on terror-related charges since partially resuming executions in December.
Supporters of the death penalty in Pakistan argue that fast-track executions are needed to rein in militant attacks.
An interior ministry letter seen by the BBC says that death sentences should be carried out “strictly as per law and only where all legal options and avenues have been exhausted and mercy petitions… have been rejected by the president.”
The letter is dated 3 March and is addressed to the home secretaries of Pakistan’s four provinces.
Following the attack in Peshawar, the UN urged Pakistan not to resume executions.
On Monday a court upheld the death sentence of Mumtaz Qadri – who shot dead Punjab governor Salman Taseer in 2011 – but rejected a conviction for terrorism.
His appeal can still be taken to the Supreme Court.
The lifting of the moratorium was outlined in a letter from the interior ministry
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الأربعاء , يونيو 17 2020
وزيرة الصحة تتحدث عبر مؤتمر صحفى عن تطور فيروس كورونا داخل مصر
الرئيسية/English Section/Syria-bound British teenagers bailed
Syria-bound British teenagers bailed
Three young British men who were stopped from travelling to Syria from Turkey and arrested have been released on bail, the Metropolitan Police says.
The three teenagers, two aged 17 and one 19, from north-west London were flown back to the UK on Saturday night.
They were arrested on suspicion of preparing terrorist acts and have been bailed pending further inquiries.
UK police alerted Turkish officials after a tip-off from the younger teenagers’ parents the Times has said.
Scotland Yard said counter-terrorism officers were initially made aware that the two 17-year-olds had gone missing and were believed to be travelling to Syria on Friday.
The parents of the pair contacted police when they did not return home after Friday prayers, according to the Times.
Further enquiries revealed they had travelled with a third man, UK police said.
‘Security co-operation’
“Officers alerted the Turkish authorities who were able to intercept all three males, preventing travel to Syria,” a police spokesman added.
They were returned to the UK at about 23:10 GMT on Saturday and were arrested by counter-terrorism officers.
They have been bailed to return to a central London police station pending further enquiries.
The trio had flown to Istanbul from Barcelona, in Spain, a Turkish official told the BBC.
The two 17-year-olds were stopped at Istanbul’s Sabiha Gokcen airport by Turkish authorities acting on intelligence provided by British police about the pair.
However, the 19-year-old man was only detained after being questioned by Turkish police, the official said. He was also arrested at the airport.
“This is a good and a clear example of how the security cooperation between Western intelligence agencies and Turkey should work,” the official added.
BBC correspondent Andy Moore said the development came after “recriminations” between UK police and Turkish officials following the disappearance of three London schoolgirls.
IS fighters in Raqqa
Guney Yildiz, BBC News
A senior Turkish government official told the BBC that Turkish security agencies have drawn up a “no-entry” list of 12,500 people, with some volunteers being as young as 14.
Largely using intelligence from Western agencies, they have also deported more than 1,100 people suspected of wanting to join Islamic State.
Reiterating Turkey’s willingness to stop the flow of foreign fighters into Syria, the official said that he has concerns about the failure in intelligence-sharing between Western security agencies and Turkey.
Speaking on the condition of anonymity, he complained that Western intelligence agencies are not doing enough to prevent the would-be fighters leaving their countries of origin.
He said that the flow of foreign fighters is been aided by a large human smuggling network, having one foot in Syria and the other in Western Europe.
The news comes as the National Police Counter Terrorism Network and partners have rolled out an advertising campaign designed to reach out to families, to prevent young people travelling to Syria.
It will involve adverts appearing in minority ethnic media across the country.
Kalsoom Bashir of Inspire and Deputy Assistant Commissioner Helen Ball
The awareness campaign features the relationship between a mother and daughter and encourages parents to discuss issues such as travelling to Syria and what they are viewing online.
In the last year 22 women and girls have been reported missing by families who feared they had travelled to Syria.
Deputy Assistant Commissioner Helen Ball, counter-terrorism co-ordinator, said police are increasingly concerned about the numbers of young women who have travelled or are intending to travel to Syria.
She said: “It is an extremely dangerous place and the reality of the lifestyle they are greeted with when they arrive is far from that promoted online by terrorist groups.
“The option of returning home is often taken away from them, leaving families at home devastated and with very few options to secure a safe return for their loved one.
“We want to increase families their confidence in the police and partners to encourage them to come forward at the earliest opportunity so that we can intervene and help.”
Kalsoom Bashir from the organisation Inspire, which works with Muslim women to tackle extremism said: “Having seen the devastation facing families where a loved one has travelled to Syria, I would advise families to keep their children close, to constantly remind them that they are loved, that they are part of a strong family network and that they can talk to you about anything they are worried about.”
Kadiza Sultana, Amira Abase and Shamima Begum (L-R) left Britain in February
Shamima Begum, Amira Abase, both 15, and Kadiza Sultana, 16 – all from London – took flights to Istanbul last month, from where it is feared they travelled to join Islamic State (IS) militants in Syria.
Their disappearance led to criticisms from Turkey’s deputy prime minister, who said Turkish officials had not been given enough warning about their disappearance.
“On this occasion it seems that the warning was raised in the UK and that was communicated very quickly to Turkey,” said our correspondent.
‘Britons of interest’
The Home Office says there are about 600 Britons “of interest” in Syria.
The BBC understands about 100 Western volunteers – including some Britons – are fighting as part of the 30,000-strong Kurdish forces against IS, while more than 500 Britons are believed to have travelled to join IS militants.
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One Missed Call (2008 American Remake)
Disclaimer: There will be spoilers. You've been warned.
I remember I bought this DVD from Hastings years ago. I think it was in 2010. For some reason I put off watching it for a few months. At one point I was sick for a few days and feeling awful, so I decided to finally give it a shot. After watching it from beginning to end, I remember feeling disappointed. I put it back in the DVD case and never really gave it a second thought until the other day. Four years later, I decided to give it a second chance, figuring maybe I was too harsh on it and perhaps too sick to appreciate it. It was nice to revisit it, though my new conclusion is that One Missed Call is lightweight like the froth on beer. Let me explain.
Like similar (but much better) movies like The Ring and The Grudge, One Missed Call is the remake of an earlier Japanese movie. It's based off a Japanese movie called - you guessed it - One Missed Call! The American remake I'm reviewing was directed by Eric Valette.
The concept is simple and similar to The Ring. In One Missed Call, you'll receive a voicemail where you hear yourself during the last seconds of your pathetic life. The voicemail also gives you the exact time and date of your death. Unlike the nice ghost girl in The Ring (Samara) who gives you an entire week to plan your funeral in advance, the bastard who dials you in One Missed Call only gives you TWO nights to prepare for your death. That's not even enough time to plan a hair appointment, much less prepare to meet your maker. Eh.
Shannyn Sossamon (40 days and 40 nights) is our heroine here. Her character, Beth Raymond, witnesses the deaths of several friends who all received voicemails of themselves in their final moments. Similar to the victims of the haunted VHS tape in The Ring, the victims here not only have to sit around waiting to die, but they also see all kinds of weird and creepy images to keep them freaked out in the meantime. In this movie, the victims see people with weird faces and creepy crawler caterpillar things. And then before you know it, your time is up and you expire. Oddly when the victims die, they burp up some type of hard candy. Yes, candy. Well, that's one nice thing the ghost dialer does, I guess. You don't wanna die with a dry mouth, do ya?
Shannyn Sossamon as Beth Raymond
Predictably, Beth eventually receives a voicemail of her death as well. She's really easy on the eyes, but I'm not sure how to rate her performance, particularly after she receives the voicemail. Me personally, I would have been much more freaked out. There were times when Beth appeared ready to snap, but she never did. Some people keep calm under pressure and I guess she's one of them. Either way, Sossamon played Beth with an aura of relative cool and self-assurance and it's up to the audience to decide how realistic her portrayal is. Speaking personally, I know if I witnessed the deaths of close friends and knew I was next, I'd probably go insane. But Beth didn't. You go, girl.
She teams up with a Police Detective named Jack Andrews. (Edward Burns) Yeah, his name is quite tough. Jack Andrews. But the guy was a real weenie. Burns played the character as if he were just going through the motions. It's as if he knew his character was going to die late in the film so he just said, "F**k it." Here's another spoiler while I'm ranting. Killing off the black girl mere minutes into the movie was ridiculous. Hold on. Scratch that. She actually died before the opening credits. This is more than cliche. And the ghost killed her damn CAT too?? Come on man. Basically, if you're a minority or a kitty, this movie made sure to get you outta the way super early. I'm calling Al Sharpton, Jesse Jackson, and every animal rights group known to man!
Ahem. Now for some good things. One thing I liked was that Jack Andrews was quick to believe Beth's claims about the haunted phone. His sister had died previously (in the same manner as Beth's friends) so he believed her right off, saving us from the general "friend who doesn't believe the main character until it's too late" stereotype we get in many horror movies. Jack failed to protect his sister and makes it his new mission to protect the attractive Beth. I don't blame him. You go, boy.
But, poor Jack's heroic attempts are made in vain because he dies before he can sleep with Beth. Bummer, especially since she invited him to "hang out" when they thought they had defeated the ghost.
I was disappointed with the origin story of the ghost caller. It'd take me a while to explain it and at the end of the day it doesn't make a lot of sense. If they had a better explanation for the ghost story then maybe it could tie everything together better. To me, that's the weakest thing in the movie.
Another similarity to The Ring and The Grudge was that the antagonist was a child. Yep, a ghost child with asthma was the one doing the dirty work here. I'm being serious. It may have worked better if they'd given her a Darth Vader voice. (After all, Vader was famous for the wheezing he juxtaposed to his deep tones). Talk about a missed opportunity. They could have called up James Earl Jones for a voice-over. Better yet, they could have reached out to me.
I don't get scared when I watch movies but the creepy factor here was decent, especially when you see something that you don't expect to see, particularly the sudden images the victims see before they die. It can take you by surprise and startle you. Luckily there are not many annoying "boo!" scares. The pace of the movie was good and they didn't waste a lot of time. Like I said earlier, the main things that hurt the movie was the terrible ghost origin story and the laid back characters. Although Beth was a little too level-headed for someone about to die in two days, her friends seemed to accept it and didn't even try to stop their impending doom. To me, that's not realistic.
To sum it up, I think it's worth viewing once or at least on rare occasion. I've seen much worst films. This had potential, but proved to be the beginning of the end of the "Japanese Ghost Story Remake" phase that Hollywood went through. I rate this one five stars out of ten. It could have been a lot better but it could have been so much worse. One Missed Call was one missed opportunity.
***** out of 10.
The Howling IV: The Original Nightmare (1988)
Salvage (2006)
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Destination lifestyle center
Accra’s A&C Mall has evolved into a true destination lifestyle node offering a wide variety of shopping, business, and health and fitness products and services.
In 2010 the Broll Property Group was appointed to take over the management of what was then A&C Mall in the East Legon suburb of Accra, with the task of breathing new life into the five-year-old center.
“We started with three objectives: rebranding the six-acre precinct, reviewing and fine-tuning the tenant mix, and increasing foot traffic,” says Moses Luri, Broll Ghana’s head of retail leasing. “I’m pleased to report that we’ve been successful on all fronts.”
Rebranding the center to A&C Square was more than just a name change. It involved adjusting the tenant mix to suit the target market. Retailers such as Vodafone, Exotic Trendz, Koffee Lounge and Clinics were added, and this dramatically improved foot traffic. This increased consumer demand led to other retailers seeking space in the node.
When built, the property was one of the first formal shopping centers in Ghana. At almost 10,000m2 – with another 5,000m2 under construction – and offering a desirable tenant mix, A&C Mall is ideally positioned to take advantage of the area’s growing middle-class consumer sector.
“Now that we’ve repositioned A&C Mall, we’re working hard to ensure that every visitor’s experience is a satisfied one,” says Luri. “This includes training the retailers in selling techniques and in how to build long-lasting relationships with their customers. We guide them on how to analyze their businesses and identify who their target markets are, then devise and implement marketing strategies to satisfy their needs. These strategies are then tied to those of A&C Mall so that we’re all working together in a harmonious and coordinated way.”
Broll Ghana is able to benefit from the experience of its South African counterpart, and experts with international expertise were brought in to assist with the turnaround at A&C Mall. Not only is A&C Mall able to make use of Broll’s patented property management software, Broll-Online, but every aspect of the business is minutely examined to ensure compliance with international best practice. Leases are managed to ensure 100% occupation, and external service providers are given key performance indicators to ensure that benchmarked and measurable service delivery standards are met.
“Retail is a tough, uncompromising and increasingly competitive space with little room for trial and error,” says Luri. “Broll Ghana has a proven track record in this field and has in-house expertise and access to specialists with loads of African experience to ensure that when we manage a shopping center, we can add value from day one. A&C Mall has undergone a metamorphosis in the past three years and we’re proud to have had a hand in it.”
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The act of expurgating, purging, or cleansing; purification from anything noxious, offensive, sinful, or erroneous.
Expurgation is a form of censorship by way of purging anything deemed noxious or offensive, usually from an artistic work. It has also been called bowdlerization, after Thomas Bowdler, who in 1818 published an expurgated edition of William Shakespeare's work that he considered to be more appropriate for women and children. He similarly edited Edward Gibbon's Decline and Fall of the Roman Empire.
In 1264, Clement IV ordered the Jews of Aragon to submit their books to Dominican censors for expurgation.
The Private Memoirs of Kenelm Digby (1603–1665) were only published in 1828, in a bowdlerized form.
Victor Hugo's dramas were bowdlerized almost out of recognition in the 1845 English translations of Frederick Lokes Slous included in the 1877 Complete Works. Le Roi s'amuse, familiar in Verdi's operatic treatment Rigoletto, was furnished with a happy ending: there is no hint of Blanche/Gilda being deflowered, rather, she comes within a hairbreadth of touching her lips to a glass of wine which contains the poison that Saltabadil/Sparafucile prefers to his usual instrument in this version. Lucrezia Borgia is similarly altered.
Fanny Hill (1748) was self-censored by author John Cleland in a 1750 edition. A modern edition was banned in the United States until Memoirs v. Massachusetts overturned the ban in 1966.
Justine (1791, also known as The Misfortunes of Virtue) by the Marquis de Sade was not completely translated into English until 1953 by Austryn Wainhouse.
Several themes in the play Cat on a Hot Tin Roof were toned down in the 1958 film of the same name, resulting in the playwright Tennessee Williams advising people to not view the film.
Lysistrata, by Aristophanes, was bowdlerized in all English translations before 1960.
In 1986, to mark the centenary of Hugh Lofting's birth, new editions of his Doctor Dolittle stories were published, in which derogatory terms and images for certain ethnic groups were removed.
Unexpurgated can be compared to uncut in the cinematic realm.
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Squashed Rye pot
Squashed Rye pot (mark)
Squashed Rye pot - 2⅜" (60 mm) high.
Rye Pottery
The name 'Rye Pottery' can be applied to ceramics produced in the small Sussex town of Rye and the surrounding area.
Pottery has been produced in Rye since mediaeval times, but what is now known as Rye pottery was started at Cadborough near the end of the eighteenth century. Cadborough established the design that is now recognized as traditional for Rye pottery - applied sprigs of hops and hop leaves on pots made from local clay with a lead glaze.
In the second half of the nineteenth century the Bellevue Pottery opened In Rye, and by 1890 the Cadborough Pottery had run out of family members to keep it going, and was swallowed by the thriving Bellvue Pottery. Bellvue was run by Frederick Mitchell until his death in 1875 and by his wife, Caroline, until Frederick Thomas Mitchell, their son, took over in the last decade of the nineteenth century.
After the turn of the nineteenth century the company ventured into more ambitious styles, including lustre glazes.
A business card from the early 1930s
By the 20's and 30s they were producing the Jazz and Deco designs that were popular at the time. The pottery was owned by Edith Mitchell, Frederick's widow, from 1920 to 1930 and by Ella Mills from then to the outbreak of the second World War. During the tenure of these two ladies the pottery's name changed several times, being variously known as Rye Art Pottery, Sussex Art Pottery, Sussex Rustic Ware and Sussex Art Ware. After the outbreak of the Second World War the pottery had to close down due to wartime restrictions on kilns being fired during the hours of darkness.
After the war the premises were bought by two young sculptors - the brothers Wally and Jack Cole, who renamed the company 'Rye Pottery'. They moved away from the traditional designs and produced high quality majolica in the styles of the fifties. They trained many apprentices, and most of them eventually left to set up their own potteries in Rye. At one time there were no less than eight individual potteries in the tiny town, making it an important centre for the trade.
One of those apprentices, David Sharp (b1932-d1993), was to become a leading figure with a large following of collectors. He made very varied and original designs, some of which were quite controversial. The David Sharp Pottery continues today, run by his family and making good pieces in interesting designs. A well known activity of the pottery is the making of number or name plaques for houses, usually circular or oval, that are a distinctive feature of most of the houses in Rye and are shipped to all corners of the world.
Denis Townsend is also an ex-Rye Pottery apprentice. He is know for work of very high quality, and his company, Iden Pottery, produced domestic wares for some of the most select retailers throughout the world.
There is an active collectors' club devoted to Rye Pottery - The Potteries of Rye Society. If you are interested in joining, call Barry Buckton on +44 (0)1233 647898, or contact us at the Pottery Studio and we will pass your details on to Barry.
Further Reading: The Potteries of Rye, 1793 onwards by Carol Cashmore
The Potteries of Rye by Carol Cashmore
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Tag: industry
Fashion Industry And Women
March 18, 2020 Katrina
The MMA clothing scene is governed by dozens of brands. A stylist is either a person who co-ordinates the clothes, jewelry, and accessories used in fashion photographs and catwalk shows or a kind of designer whose designs are based on existing things, trends, and designers collections. Classic brands for the younger age that are the popular clothing brands would be Abercrombie & Fitch, Hollister, Nautica and Lucky Brand.
This in turn influenced streetwear as a whole and the different types of styles and designs were soon adopted worldwide. Streetwear primarily started in the California surf and skate scene and was originally it was known as skatewear and surfwear depending on what particular scene the clothing came from.
Streetwear was now big business with the high street and designer fashion brands taking on many of the ideas and innovations that the original brands brought to the fashion world. In the ancient times, people made use of local materials like animal skin and fur in producing the attires they put on. Different kinds of clothing styles were also produced through such local means.
Clinch Gear: This brand produces moderately priced t-shirts and shorts with a cool looking style. Lots of quality clothing materials, fashion dresses and accessories were also produced. Ever since the fashion industry has witnessed the dawn of patterns it is seen that choice of people (men and women) has changed drastically.
Fashion has walked into the life of people with a bang and its walk-in has caused a lot of talk in the lives of people. Considering the year 2015 and the growth of fashion in the last 5 years or so you will see a huge increase in the statistics and this increase will help you understand how broadly the fashion industry has affected the lives of normal people like you and I. However this is not the kind of change that we can call a negative one because it has brought in about a lot of positive air about the idea of fashion and the change in the lifestyle of people.
The latest designer brands and styles can be available at special discount prices. Japanese designers drew on influences from anime, toys and gadgets as well as their own style of Japanese street art. For those who choose a prestige and high profile style, there are certain clothing brands that are classics and will always be popular clothing brands.
Marc Ecko, the creative force behind the Ecko Clothing brand, has pioneered the fashion of the youth culture and global lifestyle brand. They truly offer a full lineup of apparel and fight wear, including MMA shorts, t-shirts, hoodies, and hats. Often surfers and skaters would produce their own branded boards and t-shirts with their own unique styles.
What Is Fashion Production?
The term streetwear is common place in today’s fashion world. If statistics are to be believed then the growth of fashion industry making printed clothing will show a great shape and advancement in the next … Read More..
Fashions are social phenomena common to many fields of human activity and thinking. Second hand and vintage clothing again offer a dilemma, whilst they are probably the most sustainable option, they do little to alleviate poverty around the world, although in this case shopping in charity shops could be the answer to reducing both environmental impact and supporting a worthwhile cause.
Many ethical fashion brands support various good causes around the world and empower people to create a sustainable livelihood. Apple Bottoms is now a full clothing line for women, including not only jeans, but also skirts, shorts, shirts, and even jackets. This has resulted in brands like MbyM, Volcom and Hurley producing evening wear such as suits and dresses that look smart yet individual.
The brand has expanded to include several lines comprised of Ecko Unlimited (men), Ecko Red (women), EckM Function (outerwear and alternative sports), Marc Ecko Leather (leather goods), Marc Ecko watches, Marc Ecko Scopes (eyewear), EckM Storage (bags and accessories), Marc Ecko Footwear (men’s, women’s, and children’s footwear), Zoo York (skateboarding, extreme sports, and hip hop), EckM Unlimited Boys and Ecko Red Girls lines.
The history illustrates this: the 1950s Hollywood movies depicting the ‘biker boys’ cool image, the 70s Levi’s wearing ‘Saturday Night Fever Culture’, clothing the U.S Olympic team and the ‘Blues 501’ popularity in the 80s, and the cutting-edge unforgettable communications of the 90s up to the current day.
Hip hop fashion is everywhere. TapouT Clothing: TapouT Clothing is probably the most well-received and heavily marketed brand in the MMA clothing scene. With leather clothing is not restricted only to jackets but it has travelled beyond into leggings, skirts and dresses, pants, cloaks, boots, capes and even hair accessories like bandeaus.
Since trends keep changing every now and then, it is seen that Printed Clothing has affected the fashion industry a lot. As one would expect from a leader, Levi’s justifies its iconic image by their hand in consistently setting new trends, re-designing the marketplace and raising the benchmark for quality and satisfying consumers’ needs.
Today streetwear is crossing boundaries moving into different areas of the fashion industry. Women want to gain much attention, especially from the opposite sex and hence the hottest clothes like see through clothing using sheer fabrics with a mixture of delicate and creative designs are what they are after.
Denim icon. Choose the latest styles to accent your work wardrobe, find a hip new color to add to that classic black dress, or add some exciting new textures to an already outrageous and fashion-forward ensemble. This change has not only brought in a lot of air about growing trends with unique prints and patterns rather it has made people look elegant like never before.
The subject of sustainable fashion is a complex one and the confusion surrounding it is sometimes used by brands to green wash consumers by using the terms ‘eco’ and ‘sustainable’ to describe clothing or collections that may help … Read More..
To understand fully what fashion production is all about, it’s very important to have a look at what the term “fashion” stands for. The choice of millions of people around the world is rather simple and crisp- They want clothing that not only makes justice to the fashion industry but also to normal people, because it is the normal people who take the trend forward with every step.
Fashion industry has done much justice to women in designing their clothes and foot wear and their jewelry and accessories as well. The brand names sell themselves, but these are the styles that people see most of the celebrities wearing. Diversifying from young men’s wear to women’s, juniors, children’s, infants and accessories, Rocawear defines and advances urban cultural trends while remaining a true reflection of urban lifestyle.
His creative team of designers crafted the perfect fit for different women’s body shapes. Another fact that confirms Levi’s iconic status is its longevity in remaining the most popular and respected denim brand that people want to be associated with. Sunglasses and bags are becoming evermore present within the style with brands such as Eastpak producing high quality and original bags and Blackflyz making some of the most original shades around.
Style and fashion is one of the biggest things people pay attention to these days. Choose the latest styles to accent your work wardrobe, find a hip new color to add to that classic black dress, or add some exciting new textures to an already outrageous and fashion-forward ensemble. This change has not only brought in a lot of air about growing trends with unique prints and patterns rather it has made people look elegant like never before.
While the bright and innovative designs on t-shirts, hoodys and jeans remain prominent many brands are now beginning to cross styles by mixing casual wear with smart wear. Japan was the next market to catch on to the streetwear ideal and as always they brought their own unique styles to the table.
A stylist is either a person who co-ordinates the clothes, jewelry, and accessories used in fashion photographs and catwalk shows or a kind of designer whose designs are based on existing things, trends, and designers collections. Classic brands for the younger age that are the popular clothing brands would be Abercrombie & Fitch, Hollister, Nautica and Lucky Brand.
The MMA clothing scene is governed by dozens of brands. The designs and the patterns that the fashion designers choose for a fashion centric woman is what exactly we call the driving force of the entire fashion market. The true self of fashion reveals with prints because it helps you pick … Read More..
December 27, 2019 Katrina
Style and fashion is one of the biggest things people pay attention to these days. The fashion industry has left no stone unturned in the world of a woman, especially with regard to fashionable swimwear. Much of their product line is geared toward street wear style clothing, which isn’t necessarily MMA themed. Whether it’s their MMA shorts or simple t-shirts, you will never regret a piece of Bad Boy clothing.
TapouT Clothing: TapouT Clothing is probably the most well-received and heavily marketed brand in the MMA clothing scene. With leather clothing is not restricted only to jackets but it has travelled beyond into leggings, skirts and dresses, pants, cloaks, boots, capes and even hair accessories like bandeaus.
Several fashion brands have been established. Undoubtedly, Printed Clothing has become the new fashion trend and the fashion designers do not see it stopping in the next few years. Leather in the fashion industry has found the best place with ladies choosing leather as their contemporary style of fashion.
Considering the year 2015 and the growth of fashion in the last 5 years or so you will see a huge increase in the statistics and this increase will help you understand how broadly the fashion industry has affected the lives of normal people like you and I. However this is not the kind of change that we can call a negative one because it has brought in about a lot of positive air about the idea of fashion and the change in the lifestyle of people.
The term streetwear is common place in today’s fashion world. The history illustrates this: the 1950s Hollywood movies depicting the ‘biker boys’ cool image, the 70s Levi’s wearing ‘Saturday Night Fever Culture’, clothing the U.S Olympic team and the ‘Blues 501’ popularity in the 80s, and the cutting-edge unforgettable communications of the 90s up to the current day.
If statistics are to be believed then the growth of fashion industry making printed clothing will show a great shape and advancement in the next five to seven years, changing the lives of people, drastically. The word sustainable fashion is general enough to mean just about anything when used by clever marketers causing confusion amongst consumers.
Fashion has walked into the life of people with a bang and its walk-in has caused a lot of talk in the lives of people. Second hand and vintage clothing again offer a dilemma, whilst they are probably the most sustainable option, they do little to alleviate poverty around the world, although in this case shopping … Read More..
Style and fashion is one of the biggest things people pay attention to these days. The choice of millions of people around the world is rather simple and crisp- They want clothing that not only makes justice to the fashion industry but also to normal people, because it is the normal people who take the trend forward with every step.
The subject of sustainable fashion is a complex one and the confusion surrounding it is sometimes used by brands to green wash consumers by using the terms ‘eco’ and ‘sustainable’ to describe clothing or collections that may help in one way but not another.
The MMA clothing scene is governed by dozens of brands. The brand has expanded to include several lines comprised of Ecko Unlimited (men), Ecko Red (women), EckM Function (outerwear and alternative sports), Marc Ecko Leather (leather goods), Marc Ecko watches, Marc Ecko Scopes (eyewear), EckM Storage (bags and accessories), Marc Ecko Footwear (men’s, women’s, and children’s footwear), Zoo York (skateboarding, extreme sports, and hip hop), EckM Unlimited Boys and Ecko Red Girls lines.
Fashions are social phenomena common to many fields of human activity and thinking. His creative team of designers crafted the perfect fit for different women’s body shapes. Another fact that confirms Levi’s iconic status is its longevity in remaining the most popular and respected denim brand that people want to be associated with. Sunglasses and bags are becoming evermore present within the style with brands such as Eastpak producing high quality and original bags and Blackflyz making … Read More..
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Land Life
Consolidated-Tomoka Land Co. Reports Second Quarter 2015
21 Jul No Comments admin Company News, Vacant Land
DAYTONA BEACH, Fla.–(BUSINESS WIRE)–Consolidated-Tomoka Land Co. (NYSE MKT: CTO) (the “Company”) today announced its operating results and earnings for the quarter ended June 30, 2015 and updated certain elements of the Company’s guidance for the fiscal year ending December 31, 2015.
“As our pipeline of land transactions under contract has grown, we are experiencing a longer than expected process for the developer permitting and entitlements to be completed as transportation and environmental matters in particular are requiring a longer time frame to resolve.”
OPERATING RESULTS
Operating results for the quarter ended June 30, 2015 (as compared to the same period in 2014):
Net income was $0.04 per share, a decrease of $0.09 per share; the largest factor was higher interest expense of approximately $1.1 million relating to the convertible debt issuance, including amortization of the discount, in advance of generating revenue from additional income-producing investments;
Revenue from Income Properties totaled approximately $4.1 million, an increase of 16%;
Revenue from Commercial Loan Investments totaled approximately $639,000, an increase of 150%;
Revenue from Real Estate Operations totaled approximately $1.4 million, an increase of 30%; and
Revenue from Golf Operations increased by 1% and net operating results improved by 90%.
Operating results for the six months ended June 30, 2015 (as compared to the same period in 2014):
Revenue from Commercial Loan Investments totaled approximately $1.3 million, an increase of 6%;
Revenue from Real Estate Operations totaled approximately $2.2 million, a decrease of 7%; and
Revenue from Golf Operations increased by 5% and net operating income was approximately $140,000, an improvement of approximately $136,000.
Other highlights for the quarter ended June 30, 2015 include the following:
Repurchased 15,764 shares of the Company’s stock for approximately $859,000 at an average purchase price of $54.47 per share;
Generated revenue of approximately $755,000 from two land transactions for just under 4 acres in the quarter;
Generated revenue of approximately $39,000 and $328,000 for impact fees for the three and six months ended June 30, 2015, respectively, versus approximately $50,000 and $123,000 for the three and six months ended June 30, 2014, respectively; and
Total cash (excluding restricted cash) as of June 30, 2015 was approximately $31.7 million, of which approximately $23.9 million was utilized in connection with the acquisition on July 16, 2015. As of June 30, 2015, face value total debt to total market capitalization, net of cash, remained below 22% with $75.0 million of borrowing commitment and approximately $57.2 million of available borrowing capacity on our credit facility, subject to borrowing base requirements.
Income Property Portfolio Update
Property Acquisitions
On May 18, 2015, the Company acquired a 23,329 square-foot property situated on 2.46 acres in Glendale, Arizona at a purchase price of approximately $8.6 million. The property is leased to The Container Store with a term of approximately 15 years having commenced in February 2015, with rent increases every 5 years. In a separate transaction, the Company’s approximately $6.2 million first mortgage loan to the developer of the property, which would have matured in November 2015, was paid off by the borrower at par.
On May 29, 2015, the Company acquired a 0.71 acre vacant outparcel located at The Grove at Winter Park in Winter Park, FL at a purchase price of $409,000.
On July 16, 2015, the Company made its largest single acquisition in its history, acquiring a 136,853 square-foot Class A office property situated on 3.40 acres in Jacksonville, Florida at a purchase price of $25.1 million. The multi-tenant property, 245 Riverside Avenue, is a five story building, built by The St. Joe Company in 2003 for their corporate headquarters, and is approximately 99% occupied with an average remaining lease term of approximately 5.4 years. The largest tenant of the property is Raymond James & Associates, occupying approximately 14% of the leasable space. The Company will engage a third party to manage and lease the property. This multi-tenant income property was acquired near the mid-point of our guidance for target investment yields and below estimated replacement cost.
Property Dispositions
On April 17, 2015, the Company sold its interest in two 13,813 square-foot buildings, located in Sanford and Sebastian, Florida, which were both under lease to CVS but had been vacated by the tenant in a previous year, with a weighted average remaining lease term of 8.7 years, for proceeds of $6.4 million, generating a pre-tax loss of approximately $497,000 or approximately $0.05 per share, after tax. In the first quarter of 2015 the Company recognized an impairment charge of approximately $510,000 in connection with these sales; therefore, an adjustment of that charge in the amount of approximately $13,000 was recognized during the quarter ended June 30, 2015. The proceeds from these transactions were utilized in a 1031 exchange to acquire the Container Store in Glendale, Arizona.
Self-Developed Properties
Tenant improvement costs totaling approximately $838,000 were incurred during the three months ended June 30, 2015 related to two lease transactions: (i) the new 10-year lease with Teledyne for approximately 15,000 square feet at the Williamson Business Park, which the tenant is expected to occupy before August 2015; and (ii) the expanded and extended lease with the Florida Department of Revenue for approximately 21,000 square feet at the Mason Commerce Center. This brings our self-developed multi-tenant property portfolio to a weighted average occupancy of 91% as of June 30, 2015, with two of the properties 100% occupied. The Company is exploring possible opportunities to self-develop additional multi-tenant properties on our land in Daytona Beach as recent tenant demand has been more active.
Subsequent to completing the acquisition of the property in Jacksonville on July 16, 2015, the Company owned thirty-five single-tenant income properties in ten states, with an average remaining lease term of approximately 9.1 years and eight multi-tenant income properties located in Florida, of which five were self-developed, with an average remaining lease term of approximately 5.7 years. As of July 16, 2015 the total leasable space in the Company’s portfolio of income properties was approximately 1.3 million square feet.
Commercial Loan Investments Update
During the quarter ended June 30, 2015, two of the Company’s commercial loan investments were paid in full, at par. The construction loan to the developer of the Container Store in Glendale, AZ was paid in full on May 18, 2015 with total principal received of approximately $6.2 million, and the development loan on entitled land in Ormond Beach, FL was paid in full on June 30, 2015 with total principal received of $1.0 million.
During the quarter ended June 30, 2015, the approximate $9.0 million B-Note secured by a retail shopping center located in Sarasota, Florida was extended one year to June 9, 2016 which included the rate increasing by 25 basis points and the borrower providing additional collateral on the loan.
At June 30, 2015, the Company owned three performing commercial loan investments which have an aggregate outstanding principal balance of approximately $24.0 million. These loans are secured by real estate or the borrower’s equity interest in real estate located in Dallas, Texas, Sarasota, Florida and Atlanta, Georgia and have an average remaining maturity of approximately 1.6 years and a weighted average interest rate of 8.5%.
Real Estate Operations Update
Land Dispositions
On June 1, 2015, the Company sold approximately 3.0 acres of land located on the south side of LPGA Boulevard, just east of Clyde Morris Boulevard, at a sales price of $505,000, or approximately $167,000 per acre. The pre-tax gain on the sale was approximately $476,000, or $0.05 per share, after tax.
On June 17, 2015, the Company sold just under an acre of land located in Highlands County, at a sales price of $250,000. The pre-tax gain on the sale was approximately $223,000, or $0.02 per share, after tax.
Land Pipeline Update
Since April 10, 2015 the Company executed a definitive sales contract for one additional land transaction, for the balance of the land not previously under contract in the Tomoka Town Center. As of July 17, 2015, the Company had executed definitive purchase and sale agreements with seven different buyers whose intended use for the land under contract includes residential (including multi-family), retail and mixed-use retail, and office. These agreements, in aggregate, represent the potential sale of nearly 1,900 acres, or 18% of our land holdings, with anticipated sales proceeds totaling approximately $82 million. All of these agreements contemplate closing dates ranging from the third quarter of 2015 through 2017, and the Company expects some of the transactions to close in 2015, although the buyers are not contractually obligated to close until after 2015. Each of the transactions are in varying stages of due diligence by the various buyers including, in some instances, having made submissions to the planning and development departments of the City of Daytona Beach and other permitting activities with other applicable governmental authorities. In addition to other customary closing conditions, the majority of these transactions are conditioned upon both the receipt of approvals or permits from those various governmental authorities, as well as other matters that are beyond our control. If such approvals are not obtained, the prospective buyers may have the ability to terminate their respective agreements prior to closing. As a result, there can be no assurances regarding the likelihood or timing of any one of these potential land transactions being completed or the final terms, including the sales price.
Tanger Factory Outlets
One of the definitive sales contracts is with an affiliate of Tanger Factory Outlet Centers, Inc. for approximately 39 acres along the east side of Interstate 95 near LPGA Boulevard. Provided Tanger’s customary conditions to begin construction are met, Tanger intends to develop the 39 acres into an approximately 380,000 square foot first-class outlet mall. Tanger recently received approval by the City of Daytona Beach and Volusia County for an incentive package valued at $4.5 million to assist Tanger in reimbursing the Company for Tanger’s share of the infrastructure costs required for the development of their site. The outlet mall, which Tanger expects to invest approximately $100 million to develop, has the potential to create approximately 400 jobs during the construction phase and over 800 full and part-time jobs once completed. Additionally, once completed, Tanger expects the project to bring an estimated 85 brand name and designer stores, in line with the existing Tanger portfolio, to the Daytona Beach market.
Minto Communities
One of the definitive sales contracts is with an affiliate of the Minto Communities for Minto’s development of a 3,400 unit master planned age restricted residential community on an approximate 1,600 acre parcel of the Company’s land holdings west of Interstate 95. As a result of recent delays in certain elements of the permitting process for this property, the Company now expects that this transaction is more likely to close later in 2016 and, consequently, we have adjusted our 2015 guidance to reduce our estimates for land sales this year.
Tomoka Town Center
During the quarter we entered into a definitive sales contract with an affiliate of the North American Development Group for NADG to purchase the remaining land parcels not previously under contract in the Tomoka Town Center and become the master developer of the remaining elements of the Tomoka Town Center. In connection with the planning and permitting process for the Tomoka Town Center, a community development district was created for the purpose of funding the development of the infrastructure for the entire Tomoka Town Center, including the parcels under contract for the Tanger outlet mall site and a retail warehouse club. NADG is in their initial due diligence phase for the development of a mixed-use town center that could include retail, office, lodging and residential.
Updated Full Year 2015 Guidance
As a result of recent events in the planning and permitting processes and other activities involving governmental authorities pertaining to certain of our land transactions, we anticipate that the closing of certain transactions will occur later than that which was expected as of the issuance of our full year 2015 guidance in February 2015. The Company now estimates that the timing of certain land sales that were expected to close from the 2nd quarter through year end 2015 are now expected to close in the fourth quarter of 2015 and the closing of one of the transactions may be delayed until 2016. Should the transaction previously expected to close in 2015 not close until 2016, the Company’s range of expected land sales for fiscal year 2015 would be reduced to a range of approximately $10.0 million to $17.5 million, and accordingly the Company’s estimated earnings per share for the year ending December 31, 2015 would be reduced to a range of approximately $1.45 per share to $1.70 per share. The Company does not expect the adjusted timing of these land sales to have any material impact on the expected sales proceeds from the transactions.
Total revenue for the quarter ended June 30, 2015 increased 21% to approximately $7.6 million, as compared to approximately $6.3 million during the same period in 2014. This increase was primarily the result of an increase of approximately $580,000, or 16%, in revenue generated by our income properties, an increase of approximately $315,000, or 30%, in revenue from our real estate operations, and an increase of approximately $383,000, or 150%, in revenue from our commercial loan investments. In the quarter ended June 30, 2015 revenue from our income properties included approximately $456,000 of rent increases, including the addition of the Whole Foods Market Centre, acquired in October 2014, and revenue from our real estate operations benefited from an increase of approximately $755,000 from two land sales, offset by a decrease in our subsurface lease revenue of approximately $356,000.
Total revenue for the six months ended June 30, 2015 increased 11% to approximately $14.9 million, as compared to approximately $13.5 million during the same period in 2014. This increase was primarily the result of an increase of approximately $1.4 million, or 21%, in revenue generated by our income properties and an increase of approximately $136,000, or 5%, from our golf operations, offset by a decrease of approximately $175,000, or 7%, in revenue from our real estate operations. For the six months ended June 30, 2015 our revenue from our income properties included approximately $988,000 of rent increases, including the addition of the Whole Foods Market Centre, and our real estate operations benefited from an increase in revenue from land sales of approximately $451,000, offset by a decrease in our subsurface lease revenue of approximately $708,000.
Net income for the quarter ended June 30, 2015 was approximately $225,000, compared to approximately $723,000 in the same period in 2014. Net income per share for the quarter ended June 30, 2015 was $0.04 per share, as compared to $0.13 per share during the same period in 2014, a decrease of $0.09 per share, or 69%. Our results in the second quarter of 2015 benefited from approximately $1.3 million, or 21%, in increased revenues offset by an increase in operating expenses of approximately $791,000, or 17%, and an increase in interest expense of approximately $1.4 million. Included in the net increase in operating expenses of approximately $791,000 was approximately $198,000 of increased direct costs of revenues for our income properties, which was primarily comprised of approximately $265,000 in increased operating expenses related to our recent multi-tenant investments including Williamson Business Park, the Whole Foods Market Centre and The Grove at Winter Park, offset by a decrease of approximately $64,000 relating primarily to lower acquisition costs incurred in connection with certain property acquisitions in the respective quarters. In addition, our net income was impacted by increased depreciation and amortization expense of approximately $225,000, or 27%, reflecting our increased income property portfolio, increased general and administrative expenses of approximately $330,000, or 21%, primarily due to an increase in stock compensation expense of approximately $235,000 and increases in payroll-related expenses and legal costs. In addition, interest expense increased by approximately $1.4 million, or 265%, reflecting our $30.0 million fixed rate borrowing which closed in September 2014 and our $75.0 million convertible debt issuance which closed in March 2015. Of the total increase in interest expense, approximately $293,000 was non-cash relating to the amortization of the bond discount.
Net income for the six months ended June 30, 2015 was approximately $578,000, as compared to approximately $2.2 million in the same period in 2014. Net income per share for the six months ended June 30, 2015, was $0.10 per share, as compared to $0.39 per share during the same period in 2014, a decrease of $0.29 per share, or 74%. Our results in the first six months of 2015 benefited from approximately $1.4 million, or 11%, in increased revenue offset by an increase in operating expenses of approximately $2.3 million, or 26%, and an increase in interest expense of approximately $2.0 million offset by an increase in investment income of approximately $197,000. Included in the net increase in operating expenses of approximately $2.3 million was approximately $565,000 of increased direct costs of revenues related to our recent multi-tenant investments including Williamson Business Park, the Whole Foods Market Centre and The Grove at Winter Park, offset by a decrease of approximately $57,000 related to acquisition costs, property taxes and other expenses. In addition, our net income was impacted by increased depreciation and amortization expense of approximately $609,000, or 38%, reflecting our increased income property portfolio, increased general and administrative expenses of approximately $289,000, or 10%, primarily due to increases in payroll-related expenses and legal costs partially offset by an environmental reserve of approximately $110,000 that occurred during the six months ended June 30, 2014. In addition, interest expense increased by approximately $2.0 million, or 200%, reflecting our $30.0 million fixed rate borrowing which closed in September 2014 and our $75.0 million convertible debt issuance which closed in March 2015. Of the total increase in interest expense, approximately $318,000 was non-cash relating to the amortization of the bond discount.
CEO and CFO Comments on Operating Results
Mark E. Patten, senior vice president and chief financial officer, stated, “While our net income and earnings per share reflect the delay in the land transactions we expected to close in the quarter, we were encouraged with other aspects of our results, including the continued growth in our operating cash flows, the payoff of two of our loan investments which delivered a weighted average return of approximately 8.2% in just under 12 months, the addition of another large land transaction in our pipeline, and the improved results from our golf operations versus last year.” Mr. Patten continued, “We expect that the additional interest costs incurred in the second quarter will, going forward, be largely offset by the deployment of our high cash balance to fund acquisitions including the multi-tenant property in Jacksonville.” Mr. Patten also noted, “We are pleased to have been active in our share buyback program during the quarter as we had the opportunity to acquire nearly 16,000 shares at a pricing level that we believe is an attractive discount to our estimate of the Company’s net asset value bringing our total repurchases to approximately 42,000 in the last two years.”
John P. Albright, president and chief executive officer, stated, “We are pleased with the continued interest in our land holdings by high quality operators and developers like Tanger Factory Outlets and Minto Communities, whose projects we believe will bring the interchange at LPGA Boulevard and Interstate 95 to a level of quality development that should further benefit the balance of our land holdings.” Mr. Albright continued, “As our pipeline of land transactions under contract has grown, we are experiencing a longer than expected process for the developer permitting and entitlements to be completed as transportation and environmental matters in particular are requiring a longer time frame to resolve.” Mr. Albright also noted, “Our strong capital position has both allowed us to purchase the Class A 136,000 square foot 245 Riverside property in Jacksonville in advance of a possible 1031 exchange transaction, as well as to fund certain infrastructure costs for the Tanger outlet mall and Tomoka Town Center in advance of possibly being reimbursed in connection with the land transactions under contract for Tomoka Town Center, including with Tanger and NADG.”
About Consolidated-Tomoka Land Co.
Consolidated-Tomoka Land Co. is a Florida-based publicly traded real estate company, which owns a portfolio of income properties and loan investments in diversified markets in the United States, and over 10,500 acres of land in the Daytona Beach, Florida area. Visit our website at www.ctlc.com.
Certain statements contained in this press release (other than statements of historical fact) are forward-looking statements. The words “believe,” “estimate,” “expect,” “intend,” “anticipate,” “will,” “could,” “may,” “should,” “plan,” “potential,” “predict,” “forecast,” “project,” and similar expressions and variations thereof identify certain of such forward-looking statements, which speak only as of the dates on which they were made. Forward-looking statements are made based upon management’s expectations and beliefs concerning future developments and their potential effect upon the Company. There can be no assurance that future developments will be in accordance with management’s expectations or that the effect of future developments on the Company will be those anticipated by management.
Forward-looking statements are subject to certain events, factors and conditions, risks, uncertainties and assumptions that could cause the Company’s actual results in the future to differ materially from its historical results and those presently anticipated or projected. Such risks and uncertainties include, among other things, prevailing market conditions, obtaining necessary governmental approvals and satisfying other closing conditions on land transactions, the timing for expected land transactions to close, and the Company’s exploration of a potential REIT conversion.
The Company wishes to caution readers that the assumptions which form the basis for forward-looking statements with respect to or that may impact earnings for the year ended December 31, 2015, and thereafter include many factors that are beyond the Company’s ability to control or estimate precisely. For a description of the risks and uncertainties that may cause actual results to differ from the forward-looking statements contained in this press release, please see the Company’s filings with the Securities and Exchange Commission, including, but not limited to the Company’s most recent Annual Report on Form 10-K. Copies of each filing may be obtained from the Company or the SEC.
While the Company periodically reassesses material trends and uncertainties affecting its results of operations and financial condition, the Company does not intend to review or revise any particular forward-looking statement referenced herein in light of future events.
Disclosures in this press release regarding the Company’s quarter-end financial results are preliminary and are subject to change in connection with the Company’s preparation and filing of its Form 10-K for the year ending December 31, 2015. The financial information in this release reflects the Company’s preliminary results subject to completion of the year-end review process. The final results for the year may differ from the preliminary results discussed above due to factors that include, but are not limited to, risks associated with final review of the results and preparation of financial statements.
CONSOLIDATED-TOMOKA LAND CO.
CONSOLIDATED BALANCE SHEETS
Property, Plant, and Equipment:
Income Properties, Land, Buildings, and Improvements $ 192,475,053 $ 191,634,698
Golf Buildings, Improvements, and Equipment 3,429,594 3,323,177
Other Furnishings and Equipment 1,018,831 1,008,150
Construction in Progress 884,627 —
Total Property, Plant, and Equipment 197,808,105 195,966,025
Less, Accumulated Depreciation and Amortization (15,972,692 ) (15,177,102 )
Property, Plant, and Equipment – Net 181,835,413 180,788,923
Land and Development Costs 38,511,871 38,071,264
Intangible Assets – Net 10,475,708 10,352,123
Impact Fee and Mitigation Credits 4,773,033 5,195,764
Commercial Loan Investments 23,960,467 30,208,074
Cash and Cash Equivalents 31,674,420 1,881,195
Restricted Cash 1,493,395 4,440,098
Investment Securities 6,811,429 821,436
Refundable Income Taxes 707,768 267,280
Other Assets 5,566,744 4,566,291
Total Assets $ 305,810,248 $ 276,592,448
Accounts Payable $ 1,391,498 $ 859,225
Accrued and Other Liabilities 6,680,649 6,071,202
Deferred Revenue 1,147,277 2,718,543
Accrued Stock-Based Compensation 263,982 560,326
Deferred Income Taxes – Net 35,515,496 34,038,442
Long-Term Debt 129,625,551 103,940,011
Total Liabilities 174,624,453 148,187,749
Common Stock – 25,000,000 shares authorized; $1 par value, 6,050,466 shares issued and
5,994,232 shares outstanding at June 30, 2015; 5,922,130 shares issued and 5,881,660
shares outstanding at December 31, 2014 5,880,133 5,862,063
Treasury Stock – 56,234 shares at June 30, 2015; 40,470 shares at December 31, 2014 (2,240,261 ) (1,381,566 )
Additional Paid-In Capital 14,713,763 11,289,846
Retained Earnings 112,905,901 112,561,115
Accumulated Other Comprehensive Income (Loss) (73,741 ) 73,241
Total Shareholders’ Equity 131,185,795 128,404,699
Total Liabilities and Shareholders’ Equity $ 305,810,248 $ 276,592,448
CONSOLIDATED STATEMENTS OF OPERATIONS
June 30, June 30, June 30, June 30,
Income Properties $ 4,132,052 $ 3,552,130 $ 8,392,727 $ 6,956,489
Interest Income from Commercial Loan Investments 638,710 255,769 1,270,194 1,199,659
Real Estate Operations 1,368,141 1,053,585 2,227,942 2,402,832
Golf Operations 1,448,567 1,432,398 2,985,993 2,849,777
Agriculture and Other Income 20,738 17,477 39,677 75,321
Total Revenues 7,608,208 6,311,359 14,916,533 13,484,078
Direct Cost of Revenues
Income Properties (682,887 ) (484,492 ) (1,323,733 ) (824,511 )
Real Estate Operations (305,853 ) (193,627 ) (904,576 ) (445,577 )
Golf Operations (1,456,232 ) (1,512,194 ) (2,845,844 ) (2,845,220 )
Agriculture and Other Income (43,195 ) (49,119 ) (98,346 ) (110,532 )
Total Direct Cost of Revenues (2,488,167 ) (2,239,432 ) (5,172,499 ) (4,225,840 )
General and Administrative Expenses (1,874,877 ) (1,545,247 ) (3,344,643 ) (3,055,681 )
Impairment Charges — — (510,041 ) —
Depreciation and Amortization (1,071,752 ) (846,381 ) (2,227,491 ) (1,618,389 )
Gain on Disposition of Assets 12,749 — 18,189 —
Total Operating Expenses (5,422,047 ) (4,631,060 ) (11,236,485 ) (8,899,910 )
Operating Income 2,186,161 1,680,299 3,680,048 4,584,168
Investment Income 74,818 14,371 225,277 28,318
Interest Expense (1,888,434 ) (517,778 ) (2,954,936 ) (985,429 )
Income Before Income Tax Expense 372,545 1,176,892 950,389 3,627,057
Income Tax Expense (147,928 ) (453,984 ) (372,416 ) (1,403,742 )
Net Income $ 224,617 $ 722,908 $ 577,973 $ 2,223,315
Per Share Information:
Net Income $ 0.04 $ 0.13 $ 0.10 $ 0.39
Dividends Declared and Paid $ 0.04 $ 0.03 $ 0.04 $ 0.03
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Christian Crisis Management Expert: Why Christian Leaders Are Failing
Contact: Alyssa Wallen, 310-895-9985 ext 104
LOS ANGELES, March 18, 2015 /Christian Newswire/ -- With the constant news headlines of pastors and other Christian leaders falling away due to sexual immorality, misuse of church funds, denying certain Christian orthodoxy as well as others, the man that these Christian leaders turn to during a time of crisis believes he knows why our Christian leaders are failing.
Hunter Frederick, the owner of the entertainment and faith-based crisis management and public relations firm Frederick & Associates believes that a reason why we are seeing more and more Christian leaders fall is because of the celebrity status we give our christian leaders.
Frederick says: "We are building these leaders up like they're Jesus and we treat them like celebrities, we are forgetting that these people are just as sinful as we are and that they are simply a conduit for the Gospel."
Frederick also believes that the ongoing security from "ultra-conservative" christian media outlets contribute to the celebrity status of those christian leaders that they believe are preaching a false gospel.
"While we need to communicate certain concern over false teachings, we need to be careful of the means in which we communicate these concerns. A lot of these 'watchman ministries' believe it's their goal to 'call out' these leaders while at the same time evaluating their celebrity status and enable them to use said media attention to their advantage."
Along with providing crisis management and public relations services to pastors, churches, celebrities, and entertainment marketing, Frederick & Associates also provides emergency preparedness training/plans to churches for how to prepare their church for an emergency (fire, tornado, active shooter, etc).
For additional information about Hunter Frederick or Frederick & Associates please contact Alyssa Wallen.
About Hunter Frederick
Hunter Frederick is the founder and President of Frederick & Associates. Over the years, Hunter has established a diversified portfolio of successful crisis strategies for entertainment personalities, nonprofit organizations, churches, and pastors. At just age 25, Hunter has been retained as a "crisis consultant" for several clients in the entertainment industry as well as advising some of Hollywood's most reputable publicists in proper media relations during a crisis. Known by some of Hollywood's elite as The Zookeeper, Hunter has a reputation for helping the lost in Hollywood. Hunter earned his undergraduate degree from Northern Kentucky University as well as his Master's degree from Full Sail University.
About Frederick & Associates
Frederick & Associates is a crisis management and public relations firm specializing in entertainment and faith-based clientele. Frederick & Associates is highly committed to providing the best crisis management and public relations campaigns for our clients. Frederick & Associates goal is to provide a clear channel between our clients and their publics. Our promise is to remain a firm that upholds loyalty, respect, and ethical boundaries, while forming long lasting relationships with our clients.
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COVER REVEAL: "Awakened: The Zombie Who Loved Me" By Marian Tee
For my first cover reveal for the month of February, it's another book from Marian Tee! It's one of her newest series and this is also her first series wherein a zombie is involve! Yes a zombie. I know! Ewwww right? lol Don't worry Dazzle also had the same reaction when she first met Varthan but after seeing him in his real form, you'll find yourself drooling over his hotness. He's really too handsome, too hot, too perfect for a zombie. I just wish that he'll stop seeing her as his duty.
I have to say, this is the first cover that I made for a zombie story and trust me when I say that I didn't expect it to look like this. This was meant to be a special pre made cover but 2 weeks before I released it, Marian came to me and told me that she's having a new book and this time the leading man of her story is a zombie. After hearing that, I immediately showed it to her and she love it!
When this was still a special pre made cover, I was staring at it and all I see are the words "Your Book Title" and "Author's Name". I really think that it's too simple but now that it's already a book cover, I have to say, it turned out better than I expected. It's simple yet sexy. Don't you think so too?
Btw, don't forget to get you copy now! It's already available in Amazon!
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Appeal of JULIO MARTE, on behalf of Maritza Garcia, from action of the Board of Education of the Sewanhaka Central High School District regarding admission to school.
(June 9, 1993)
Douglas E. Libby, Esq., attorney for respondent
SOBOL, Commissioner.--Petitioner appeals on behalf of his cousin Maritza Garcia from respondent's refusal to admit Maritza to the schools of the district. The appeal must be dismissed.
Petitioner is a resident of the Sewanhaka district. In September 1992 he attempted to enroll Maritza in ninth grade at respondent's Elmont Memorial High School. Prior to this attempt, the student resided with her mother within the City School District of the City of New York. Petitioner submitted his affidavit together with one from the student's mother indicating that Maritza was living temporarily with petitioner because she wants to attend high school in Sewanhaka rather than in New York City. Based on those admissions, respondent denied Maritza admission to its schools. That decision was upheld by the district's administrative review officer on September 22, 1992. This appeal ensued.
The right of admission to the schools of a public school district on a tuition-free basis is accorded only to residents of the district, pursuant to Education Law '3202(1), which reads in part:
As was noted in Matter of Buglione, 14 Ed Dept Rep 220, the purpose of this statute is to limit the obligation of school districts to provide tuition-free education, with certain exceptions which are not relevant in this instance, to students whose parents or legal guardians reside within the district.
A student's residence is presumed to be that of his or her parents (Matter of Schwartz, 12 Ed Dept Rep 187). A determination by a board of education that a child is not a resident of its school district will not be set aside unless it is arbitrary, capricious or unreasonable (Matter of Buglione, supra). The presumption that a child's residence is that of the parents is, however, rebuttable and can be overcome by demonstrating that the parent has relinquished parental control. For purposes of school district residence, the child's residence then becomes that of the person assuming parental control (Matter of Morello, 9 Ed Dept Rep 130). In this instance, petitioner has failed to rebut the presumption that the child's residence is with her mother.
A board of education is not required to accept a student on a tuition-free basis where the reason for the child's change of residence is to take advantage of the educational program available in another school district (Matter of Proias, 111 Misc 2d 252; Matter of Fichtner, 22 Ed Dept Rep 119; Matter of Morrello, supra; Matter of Pitman, 2 id. 453. Based on the affidavits submitted by petitioner and the mother, respondent determined that the sole reason Maritza was living with petitioner was to take advantage of the program offered by respondent. A review of those affidavits supports respondent's determination. Accordingly, respondent's determination is reasonable and will not be set aside.
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The Countdown Library
'Countdown with Keith Olbermann' for Monday, August 4
Video via MSNBC: Oddball, Worst Persons
Guest: Jonathan Alter, Eugene Robinson, Stephen Price, Gerald Posner, Jim Vandehei
KEITH OLBERMANN, HOST (voice over): Which of these stories will you be talking about tomorrow? Obama on energy energized.
NARRATOR: After one president in the pocket of big oil, we can't afford another.
OLBERMANN: Tax credits for hybrids, tapping into the strategic oil reserve, retooling the American auto industry, retuning your engine, and properly inflating your tires.
SEN. JOHN MCCAIN, (R-AZ) PRESIDENTIAL CANDIDATE: It's not going to achieve energy independence by inflating our tires.
OLBERMANN: Actually, National Highway Transportation Safety data says, "By inflating our tires and tuning our engines, we'd save about 800,000 barrels a day," about four times what we could get for more offshore drilling. And the call to rotate your tires was made five weeks ago by Florida Governor Charlie Crist, who's on McCain's short list for vice president. Oops.
Obama's working class whites problem. Now, apparently, it is McCain's working class whites problem. The Kaiser Foundation/Harvard Poll: Obama leads 47-37, largely because of his healthcare stance.
The anthrax terror. Now, the startling claim that the White House pressured the head of the FBI to announce a link between the spores and al Qaeda or someone in the Middle East in October, 2001.
Our long national nightmare is over. Once again Brett Favre is a Green Bay Packer. A public relations ordeal so taxing the Packers had hired Harry Fleischer to help out.
And the throwdown continues.
JOEL MCHALE, TV HOST: Now I count on you to do a special comment about my comment on the clip from your show commenting on the clip from my show. My brain hurts.
OLBERMANN: How much time can two television shows waste talking about one two-minute cameo? Rather a lot, really.
All that and more: Now on Countdown.
(BEGIN AUDIO CLIP)
MCHALE: Take that, Olbermann.
(END AUDIO CLIP)
OLBERMANN (on camera): Good evening. This is Monday, August 4th, 92 days until the 2008 presidential election.
John McCain may have just had his "left them eat cake" moment. Marie Antoinette never said that. The story was already out when she was a little girl so that the comparison is unfair. It's to Marie Antoinette.
But on our fifth story on the Countdown: The Republican presidential candidate has devoted his nightly embittered mocking quota to ridiculing a gas-savings suggestion advocated by his Democratic rival, a gas-saving suggestion advocated five weeks ago by a governor John McCain is considering as his running mate, a gas-saving suggestion advocated two years ago by those liberal lunatics at NASCAR, the stock car racing circuit, a gas saving suggestion which President Bush's own highway department suggests could save more barrels of oil in one year than new offshore drilling could produce in four.
Keep your engine tuned and your tires properly inflated. This as Senator Obama is declaring in Michigan today that we must end the age of oil in our time. In a new ad, the Obama campaign stating that four more years of an administration tied to big oil would be the wrong choice.
(BEGIN VIDEO CLIP, OBAMA CAMPAIGN AD)
NARRATOR: Every time you fill your tank, the oil companies fill their pockets. Now big oil is filling John McCain's campaign with $2 million in contributions because instead of taxing their windfall profits to help drivers, McCain wants to give them another $4 billion in tax breaks. After one president in the pocket of big oil, we can't afford another.
Barack Obama - a windfall profits tax on big oil to give families $1,000 rebate. A president who'll stand up for you.
SEN. BARACK OBAMA, (D-IL) PRESIDENTIAL CANDIDATE: I'm Barack Obama and I approve this message.
OLBERMANN: The McCain campaign responding, quote, "Barack Obama's latest negative attack ad shows his celebrity is matched only by his hypocrisy."
Back in Michigan, the presumptive Democratic nominee is pointing out an end to the age of oil in our time will not be accomplished through offshore drilling.
OBAMA: We can't simply pretend as Senator McCain does, that we can drill our way out of this problem. We need a much bolder and much bigger set of solutions. We have to make a serious, nationwide commitment to developing new sources of energy, and we have to do it right away - right now.
OBAMA: We cannot wait.
OLBERMANN: The rebuttal move from the McCain campaign today, handing out tire gauges to the traveling media corps which read, "Obama's energy plan, a stunt meant to mock the Obama suggestion last week that Americans improve their gas mileage by keeping all tires properly fully-inflated," as if that were the only part of Obama's energy plan.
Cue, Senator McCain in Pennsylvania today.
MCCAIN: Unfortunately, Senator Obama continues to oppose offshore drilling. He continues to oppose the use of nuclear power. These misguided policies would result in higher energy costs to American families and businesses and increased dependence on foreign oil. We're not going to achieve energy independence by inflating our tires.
OLBERMANN: Please stop yelling at me, sir.
The McCain campaign is also e-mailing a fundraising pitch offering the tire gauges for a low, low $25 donation. They are available at amazon.com for 89 cents.
Problem number one, checking tire pressure is not the only aspect to Obama's energy plan which also includes in no particular order, dipping into the Strategic Petroleum Reserve, putting at least 1 million plug-in hybrid vehicles on the road by 2015, and a major commitment to helping the auto industry build new factories or renovate existing ones to retool for the production of those new generation vehicles.
Problem number two, Obama is not the only one to have advised Americans that properly maintained tires increase fuel efficiency. California Governor Schwarzenegger - and let's see McCain try to mock him about this - having said in June in a joint appearance with Florida Republican Governor Charlie Crist who campaigned with McCain last Friday, that average citizens should keep engines tuned and tires properly inflated as well as driving slower, buying hybrids, and lowering overall consumption.
Governor Schwarzenegger having added that at the end of June, quote, "energy prices are not going back to the good old days."
Now, who else believes that tire pressure affects the fuel efficiency of the car? NASCAR does. It has advice on its website for two years and counting, that tires be checked "at least once a month and before every road trip," quoting further, "With escalating fuel prices the time is now for drivers to focus on simple things like proper tire pressure to maximize tire performance and increased fuel economy.
Perhaps Cindy McCain might have picked that up when she toured a garage at Pocono Raceway in Pennsylvania and got into a NASCAR racer with the president of NASCAR over the weekend.
The Bush administration is also promoting proper tire inflation as a way to save money and cut gasoline use. Quoting from Department of Energy guidelines, "Keep tires properly inflated and aligned to improve your gasoline mileage by around 3.3 percent."
Time now to bring in our own Jonathan Alter, also, senior editor at "Newsweek" magazine and, I think, by the end of the week, he'll be able to do the work at "Car and Driver." Thanks for coming in.
JONATHAN ALTER, MSNBC POLITICAL ANALYST: Thanks, Keith. I'm feeling inflated.
OLBERMANN: I'm sure.
The gas tax holiday idea has been proven to be a political stunt. It will have no practical impact on anybody except the people who - somehow make money off of it. Checking tire pressure works and McCain's campaign is emphatically against this as if it were suggesting that eating more pizza would somehow reduce the price of energy. How exactly does this disconnect resolve itself?
ALTER: This is about stigmatizing Barack Obama, "Jimmy Carterizing" him. Remember when Jimmy Carter wore the cardigan sweater and the Republicans back in the '70s said, "Oh, that's how he wants to address the energy crisis, have everybody wear a sweater." They were trivializing what was actually a comprehensive plan in the Carter administration. They would love nothing more than to turn Obama into a Jimmy Carter.
The Republicans are very, very good at this, at taking trivial issues and using them to cut. The Democrats don't do it nearly as well. There's kind of a smear gap between the parties where, you know, you see McCain and his surrogates - Romney was doing it this morning - they're all on message on this tire pressure deal and misrepresenting this as being the centerpiece of Obama's energy plan.
You don't see the Democrats all on message, say, going after McCain for confusing Shiites and Sunnis or whatever an attack message might be. The Democrats hit hard sometimes but they tend to do it, maybe to their detriment, in a more substantive way.
OLBERMANN: To that point, the Obama energy ad, it does hit McCain and tries to tie him directly to big oil. Is it the right idea or is it not being followed up? Is there no follow-up execution?
ALTER: The follow-up is the key. The problem is, in politics, you can't just kind of land a blow and then move on to the next thing. You have to drive your point home. And there's an old, you know, saw in politics that if you're not hitting, you're getting hit. This is a contact sport. And you must, in a general election in particular, where there are real differences between the parties, you've got to be on the offensive every day or you're not going to stay competitive.
I think the Obama people recognize this but their messages aren't cutting. Somehow, they're not breaking through. They're using words like windfall profits tax. I think a lot of people think, "Is that about wind energy?"
OLBERMANN: Yes.
ALTER: You know, you have to get your advertising message on a plane where the message actually penetrates.
OLBERMANN: What about when it backfires because it seems like the celebrity ad continues to echo and Bob Herbert of the "New York Times" was on this network pointing out something - I don't know that anybody noticed before, this morning - that not only in that McCain ad were there two underdressed blondes mixed with the black guy in the ad, but there are also images of the Leaning Tower of Pisa, the Washington monument, and the Victory Column in Berlin, as Bob Herbert put it, "phallic symbols" - three phallic symbols, two blondes and Barack Obama.
So, this is not just a sexist ad anymore, this is what they used against misogynation, isn't it? This is what they used against Harold Ford.
ALTER: Well, to suggest that somehow, you know, Obama is going to -
OLBERMANN: He's going to wind updating those women. That's the idea.
ALTER: Yes. And that's the oldest and deepest, you know, racist canard in American history, really, is that, you know, the slave is going to come after the wife of the plantation owner.
I can't sort of dissect and decode these ads that way. I just, somehow maybe my media literacy is lacking. I didn't read that out of those ads. But I can see how some people would, and the larger issue, I think, is clear - which is they're trying to portray him as being uppity. Now, is that racist? I'm not sure.
OLBERMANN: Well if we're playing pass word if you say uppity, the word that comes into my mind, that's racist guess (ph), yes.
OLBERMANN: Yes. That is clearly what the larger subtext is. As to the phallic stuff, I'll leave that to others.
OLBERMANN: Well, all right, we'll just drop it there.
Jon Alter of MSNBC and "Newsweek" - thanks for coming in, Jon.
ALTER: Thanks, Keith.
OLBERMANN: A disturbing talking point from the Democratic primary translated into a tip from the Republican campaign that might have been put to rest today. New poll results from Harvard University, the "Washington Post", and the Kaiser Family Foundation, it turns out that Senator Obama's working class whites problem might actually be Senator McCain's working class whites problem.
Among white low wage workers targeted by both parties as a key to victory in November, Obama is leading in this group, 47 percent to 37 percent - 10 points. The advantage is partly driven because he is seen as the better candidate on healthcare.
Let's turn now to our own Eugene Robinson, also, of course associate columnist and editor for the "Washington Post."
Good evening, Gene.
EUGENE ROBINSON, MSNBC POLITICAL ANALYST: Good evening, Keith.
OLBERMANN: Was the so-called "working class whites" problem ever really a problem for Obama in any place other than Appalachia?
ROBINSON: I don't think there is a lot of evidence to support the argument that it was. I mean, it might have been, but I don't think we have the evidence to prove that it was. Remember, he was running against Hillary Clinton in those primaries, not against John McCain. And so now that he's being measured against John McCain, it turns out that while some of these people - presumably some of the same people we talked to in the recent poll - might have preferred Hillary Clinton to Barack Obama.
They, by a very large margin, say they prefer Barack Obama to John McCain, largely because of his stand on the issues and because they feel - and this is something he was accused of not doing in the beginning, too - they feel he understands them and shares their values and is kind of one of them.
OLBERMANN: And Obama in other polling is doing well with Latino voters, we've seen that with Jewish voters, where is he struggling to build support, any on the areas that were feared during the primaries?
ROBINSON: You know, I don't see the specific, huge weakness among one bloc of voters. What I think - now, I do think that Obama - given the fact that Democrats are so far generically ahead of Republicans at this point, despite the fact that Obama is fairly new to the scene and a lot of people don't know him and there's an introductory period and all of that -
I'm sure he would want to be, you know, closer to that generic Democratic level and, thus, further ahead in general, overall, further ahead of John McCain.
But I don't think it's, you know, one group where there's a glaring weakness and a golden opportunity for John McCain.
OLBERMANN: Is there any indication - is it in fact just healthcare that's the issue that would put McCain 10 points behind what would seemingly be if not his base then his ancillary base?
ROBINSON: Well, healthcare is, as I look at the poll data, I mean, healthcare is one thing that really kind of jumps out at you, the extent to which this is a constant worry that people have - a real factor in their lives - and the extent to which they believe Obama and the Democrats are much, much more likely to reform the healthcare system and make healthcare affordable. So that's the one thing that really jumps out.
But, you know, overall, it's their concerns about the economy and their concerns about the slipping away of the American dream, which is just kind of pervades - almost every page of this poll, you see these people are just worried that, you know, for the first time in history, their kids won't be able to look forward to having a better life than they have.
OLBERMANN: There's also another thing and it's obviously trivial compared to what you were just talking about, but it takes us back to this lead story of today, the McCain campaign is making fun of having correct tire pressure in your car. If you selected other than NASCAR drivers and Formula One racers, if you selected a demographic group in this country that is fully aware of how much tire pressure matters to whether or not you're getting 23 miles a gallon or 25 miles a gallon, it would probably be working class whites with pickup trucks.
I mean, there's a certain disconnect between that "I'm living life where $3 and $4 are two hugely different numbers" as opposed to where you have to get from $3 to $1,000 before somebody like John McCain notices it.
ROBINSON: I mean, you know, it's interesting. This is serious business.
ROBINSON: This poll was of people who make less than $27,000 a year. You know, saving 3 percent on your gas costs is a big deal. And so, one wonders if people will begin to kind of lose patience with the kind of burlesque atmosphere of the McCain campaign and making fun of what, you know, what, again, is serious matter for people.
OLBERMANN: To say nothing of the fact the guy is charging $25 for a pressure gauge you can get for 89 cents at the Amoco station. I mean, it's just -
ROBINSON: Ain't nobody going to pay that.
OLBERMANN: It's price gouging, Gene. Gene Robinson of the "Washington Post" and MSNBC - as ever, thanks, Gene.
ROBINSON: Good to be here, Keith.
OLBERMANN: New evidence tonight that the old "straight talk express" is now the "no talk express." A Florida reporter kicked out of a campaign event for dubious reasons.
The cackling about the link between the inflated tires and saving gas by people who couldn't care less if gas costs $4 a gallon or $14 not limited to Mr. McCain, Sean Hannity and comedian Rush Limbaugh do it in Worst Persons.
And, when a man needed to use a public restroom he saw no reason to leave his transportation outside. His transportation was a horse.
(COMMERCIAL BREAK)
OLBERMANN: First, he turned his open town halls into invitation-only politically pure events then his staff tried to micromanage local TV coverage. Now, a Florida reporter has been kicked out of a McCain campaign event under strange circumstances. That journalist joins us next.
Later, the report that within two weeks of the first anthrax attack the Bush administration was beating up the director of the FBI, trying to force him to blame the terrorism on al Qaeda. And some disturbing holes appear in the case against the only dead suspect.
Ahead on Countdown.
OLBERMANN: In the 2000 presidential campaign, John McCain's openness to reporters and their access to him underscored the image McCain wanted to advance, a straight-talking, honest maverick - unscripted, unafraid, uninterested in having consultants micromanage his statements.
In our fourth story tonight: What then does that say about McCain today that as one Florida reporter learned firsthand his access and openness are gone? We already saw a menacing librarian banished from "McCainville" for daring to suggest McCain equals Bush. Apparently that's an insult.
With McCain now relying on former Bush aides, including some whose work McCain himself used to hold in disdain, Bush tactics have emerged in McCain's media handling.
Former Bush communications director, Nicole Wallace, captured on tape last month tried to dictate the camera angle St. Louis stations could use for their interviews with McCain. McCain has also at times closed off his once open town halls, making them Bush-style, invitation-only, confrontation-free.
Add (ph) now, McCain's rally in Panama City, Florida last Friday. At the media area outside a member of McCain's security detail approached Stephen Price, senior writer for the "Tallahassee Democrat," that's the newspaper's name, not a political statement. Price showed his credentials to the event but was asked to leave anyway.
When another reporter asked why, she, too, got kicked out. McCain's advance man Jonathan Block later said, "Mr. Price was in the section for national reporters." Other local reporters, however, were not removed.
"Your reporter was in the wrong place," Block said to the paper. "I do not know why the other reporters were not moved. I can tell you without a shadow of a doubt that race had nothing to do with it."
Let's bring in that reporter, Stephen Price, senior writer for the "Tallahassee Democrat" right now.
Mr. Price, thanks for your time tonight.
STEPHEN PRICE, TALLAHASSEE DEMOCRAT: Sure.
OLBERMANN: The advance man said that you might have been singled out due to the visibility of your I.D., for instance, your paper's executive editor said you were the only black reporter in the area. He was implying that race might have been a factor. Do you think that's a possibility and could you explain why or why not?
PRICE: Sure. I mean, it was pretty odd that I'm the only black reporter. All of the other reporters were white. They were local. But I was told because I was not national that I had to be removed. So, I mean, it didn't make sense to me. The fact that I'm black was the only obvious reason.
OLBERMANN: But we asked the McCain campaign staff to try to explain your removal. They didn't even bother to reply. Was there any buildup to this? Did somebody just walk up and tap you on the shoulder and say, "Get out"?
PRICE: Right. Well, just about. The only way I was allowed access to this area was by showing my press credentials.
And after that, I was standing in front of McCain's bus, and a few minutes later a gentleman in a brown suit came and asked me what I'm doing here. I showed him my credentials. He says, "Well, this is only for national." He asked me, "Are you national?" I said, "No, I'm state."
And by that time another reporter comes over to me, a Panama City police officer comes to me with his gun, with his hand on his holster, asking me what's going on. And this thing starts getting momentum pretty quick. And so I'm trying to show him my credentials.
The other reporter says, "Well, we're all state reporters." As a matter of fact, we couldn't find any other national reporters in the area at the time. And it didn't matter to this guy. And so, he said I had to go and the other reporter spoke up, she said, well, she has to go, too. And so we all had to leave.
And my friend, the writer from the "Palm Beach Post" said, "Well, Stephen, you're guilty of being a black while reporting." And even after that, none of the other state reporters were asked to leave.
OLBERMANN: And in this area that was supposedly only for national reporters, there were only local reporters including yourself, there weren't any national reporters to begin with?
PRICE: Right, none that I saw. We were all local state, you know, we all cover Florida, we all cover Florida politics.
So, this guy had to know that we all weren't national, because the national reporters have their own bus. So he had to be familiar with them. So if he didn't recognize me, well, he surely couldn't recognize the other reporters there, also. And once that was pointed out to him, he still didn't make any charge against any other reporters.
OLBERMANN: Anybody have any grudge against you or complain against you or your work or your paper or anything from the McCain campaign?
PRICE: No, not that I know of. I mean, I did a story that ran on Saturday. I haven't heard any complaints from that.
OLBERMANN: It certainly is a different scene than it was eight years ago.
Stephen Price, senior writer from the "Tallahassee Democrat" newspaper. Good luck on the rest of your coverage and great thanks for your time tonight.
PRICE: Sure.
OLBERMANN: We are approaching the world record for most segments on two TV shows focused on one clip.
And he and his fellow Republicans were hardly enjoying booing until Stan (ph) suddenly realized that they were booing the veterans of foreign wars.
Worst Persons ahead on Countdown.
OLBERMANN: Best in a moment. So, this guy walks into a public restroom with a horse.
First, on this date 116 years ago, somebody went into the home of the eccentric investor Andrew Borden and with a hatchet killed first his wife and then 45 minutes later when he got home, him. Since there were basically no hallways of the house, the only other two people at home that day in Fall River, Massachusetts, Borden's daughter Lizzie and a maid either did it, or saw who did.
Lizzie Borden was arrested for a crime thought inconceivable in a woman of the 19th century, the hands-on gory murder of her father and stepmother. But the jury took just 45 minutes to acquit her and if you like to hurt your brain, read up on this most studied nonpolitical murder in American history and see if you can come up with a solution that fits all the facts.
On that note, let's play Oddball.
We begin in Porterville, California and a heavenly update. It seems the angel in the carpet store window, who only appears at night when the gas station opposite switches its lights on, has found a new celestial companion.
UNIDENTIFIED MALE: Not more than 50 feet from the angel in the window is this. Is this Jesus on the palm tree?
OLBERMANN: John, the Baptist in the tarmac and Doubting Thomas of the Wal-Mart are expected any day now.
Also in California, the ongoing clip challenge between myself and Joel McHale, host of E's "The Soup." Last week on Countdown, we showed a clip of me appearing on his show and threw down the gauntlet. Mr. McHale has picked it up.
MCHALE: Every now and then, the world of politics and pop culture find themselves intertwined and I'm not referring to Bill Clinton and Gina Gershon. I'm referring to a legitimate news man challenging a clip show host's ability in what has truly become the basic cable equivalent of the Alexander Hamilton-Aaron Burr duel.
OLBERMANN: This show's as rigged as the 2000 presidential election.
OLBERMANN: The soup is, of course, made up of clips of other TV shows. So now it's up to Mr. McHale and his executive producer, KP Anderson, to figure out how to run a clip of our show running a clip of their show.
MCHALE: Take that, Olbermann. Now I challenge you to do a special comment about my comment on the clip show from your show commenting on the clip from my show. My brain hurts. I think it's an aneurysm.
OLBERMANN: And now tonight's special comment. Your turn, bub. The source story in a major newspaper today; the president beat up the FBI director to blame the 2001 anthrax attacks on al Qaeda or somebody in the Middle East. And Brett Favre is here. Brett Favre isn't here. Brett Favre is here? These stories ahead, but first time for Countdown's top three best persons in the world.
Number three, best timing, Dana Milbank of the "Washington Post," who notified us today that after four years of appearing with us, he had accepted another television offer, to save your crack Countdown staff an increasingly difficult decision. For nearly a week, we had been waiting for him to offer a correction or an explanation for his column from last week in which he apparently reported an Obama quote without the full context that turned the meaning of the quote inside out. Then he called criticisms of column whines, even though the dispute was over whether Obama had said the self-deprecating, it has become increasingly clear in my travel, the campaign, the crowds, the enthusiasm, 200,000 people in Berlin, is not about me at all. It's about America. I have become a symbol of the possibility of America returning to our best traditions," or if he said only the part about I have just become a symbol.
We had decided not to have Dana on this news hour again until this was cleared up. And sadly, after some very happy years, he has apparently chosen to make the cloud permanent. Good luck, Dana.
Number two, best dumb criminal, Kimberly Jo Kirby of Baraya (ph), Kentucky. Police say she tried to steal a purse from a J.C. Penney. When confronted she fled. One small problem, inside the shoplifted purse, she had already placed her own wallet, and later called up the store to ask if it had turned up.
And number one, best guy walks into a public restroom with a horse story. In Caufgun (ph), in Bavaria in Germany on Saturday night, a guy walks into a public restroom with a horse. The horse was not crazy about going into the restroom. The horse promptly kicked down the entryway, causing two grand in damages. The guy wanted to go in with his horse but the horse had other ideas, said the police officer, Oliver Clink. I know nothing, said Clink's assistant, officer Schultz.
OK, I got two on this one. Blank you and the horse you rode into the bathroom on, or I've heard about the gag about I gotta go see a man about a horse but this is ridiculous.
OLBERMANN: The government may be able this week to close its investigation of the 2001 anthrax terror, how wonderfully convenient. A fleshed out case characterized as circumstantial by a thorough journalistic assessment and the lone mad scientist cannot answer any of it because he's dead. Case closed. However, in our third story in the Countdown, it may not remove that word circumstantial, and won't even address the troubling collateral issue, how the Bush administration reportedly pushed FBI director Robert Mueller to prove this narrative, that the 2001 attacks were in fact a second wave terror effort by al Qaeda or by somebody from the Middle East.
In the direct aftermath of those attacks in October, 2001, during President Bush's morning intelligence briefings, the director of the FBI, Robert Mueller was, quote unquote, beaten up for not producing proof that the anthrax spores were the work of Osama bin Laden. This according to an unnamed former aide to Mueller, a now retired senior FBI official speaking to the "New York Daily News;" "they really wanted to blame somebody in the Middle East," the official said.
But even then, the FBI already knew that the anthrax sent to media outlets, including NBC News and the offices of two U.S. senators, was a military strain, according to this source; "very quickly, Fort Detrick, Maryland experts told us this was not something some guy in a cave could have come up with. They couldn't go from box cutters one week to weapons-grade anthrax the next."
As for the evidence now compiled nearly seven years later against the late Dr. Bruce Ivins, it is largely circumstantial. And a Grand Jury in Washington was planning to hear several more weeks of it before issuing any indictments, according go the "New York Times," citing an unnamed source briefed on the investigation. Sophisticated DNA testing reportedly linked the victims to particular cultures or strains of anthrax for which Dr. Ivins was personally responsible.
However, dozens of other researchers would have had access to those same strains. The primary evidence of Dr. Ivins' mental instability from a therapist who successfully sought a restraining order against him raises a number of questions as well. Let's turn now to investigative journalist and author of "Why America Slept, The Failure to Prevent 9/11," Gerald Posner, who has long been following the anthrax story. He joined us last Friday and joins us again tonight with our great thanks to you, sir.
GERALD POSNER, AUTHOR, "WHY AMERICA SLEPT": Hi, Keith.
OLBERMANN: This is our conspiracy nightmare come to full fruit. The FBI source says the White House pressured them to blame it on al Qaeda or somebody in the Middle East. Would there also have been other FBI sources who would have folded under that pressure? How much did the FBI actually drag its collective feet, revealing what they had to have already known about where that anthrax came from?
POSNER: Oh, no question that there were sources and officials inside the FBI that would have caved to pressure from the White House. Look, I've been a critic of the FBI for years, from the time they did the Muir investigation and the Oklahoma bombings and other investigations that they've bungled. They are very, very sensitive to pressure coming in from the White House.
Remember, put yourself back in the time. Keith, this is October, two weeks after the biggest attack on American soil ever. Largest loss of death from a terror attacks. They are under tremendous pressure. Everybody is worried about the next shoe dropping. Is there going to be another terror strike coming up? Anthrax is out there. And you've got the president of the United States saying, I want this tied to al Qaeda. There is little doubt that this pushed some people either down the wrong investigative path - it slowed up the real path from being found, who was responsible for it, and they did know, as you said a moment ago, that this was weapons-grade anthrax. They had not gone, the hijackers, from box cutters to weapons-grade anthrax that fast.
But nobody, including Mueller, had the guts to stand up to the president and say, this is just wrong.
OLBERMANN: From the "New York Daily News" story to the "New York Times" story that the evidence against this late Dr. Ivins is circumstantial at best. There is nobody easier to convict than a dead man. Are you sold on the idea that he was involved? Are you sold on the idea of the lone mad scientist theory?
POSNER: I'm certainly not sold on the theory of the lone mad scientist. I'm not even sold right now on the fact he was involved. I'll tell you why. All we are hearing is one side of the evidence. We're getting it leaked out, as it always is by the government, bit by bit about what happened. And as you said, it's absolutely at best a circumstantial case.
The big thing they're hanging their hat on right now is the fact that they have a new DNA type of evidence for bacteria that can isolate this form of anthrax back to a flask that was in the laboratory that he handled, as did at least ten other people and possibly dozens. They have them in New Jersey, supposedly, a time when mail was sent out with anthrax spores from places in Princeton. And they have him holding a P.O. Box at a postal office inside of Frederick, Maryland, where some of the envelopes were bought they think they can trace back to this.
It's a case where any good defense attorney, a Mark Geragos, an F. Lee Bailey in his heyday a Roy Black, they would relish this type of case. They could knock it out of the ballpark. I have to say one thing, we cannot allow - I really believe this, on a case this important on the anthrax investigation, for a rush to judgment in a matter in which the prime suspect is dead of an apparent suicide.
OLBERMANN: And the key witness against that prime suspect now seems to be the therapist who filed the restraining order against him, Dr. Ivins, Miss Dooley (ph). To put it kindly, her story doesn't seem to be particularly air tight. Among other things, she misspelled her own job title, therapist, in the paperwork. And this timeline is all screwy.
Let's look at this graphically. She says Ivins was committed July 10th, signed himself out of the hospital on July 16th. Her restraining order was filed on July 24th. How does a biological weapons expert with fantasies supposedly of mass murder get to sign himself out of a psychiatric facility, and what's the deal with this woman?
POSNER: Well, I tell you, the more I look into this, the more questions I have about her. You're right, she did spell therapist wrong on the application for a restraining order. She represented herself. But she did spell subpoena right, although she got the tense wrong. I must tell you something, go on - I suggest to any people watching tonight, go on, Maryland has a great public records file on the Internet. You can go on there and put in her name. You can find out that she has a somewhat unusual past. In '92, she was charged with her husband for battery on her husband. It was a civil complaint. She was picked up with drug paraphernalia at one point. She had a bankruptcy in '99.
She is a counselor. She is not a psychiatrist. She is not a psychologist. She's a social worker, but really she is a counselor in a group setting for drug problems. But had DUIs herself in 2006 and 2007. You have a bio-weapons expert who was seeking help because evidently he has homicidal rage, going to a group setting for drug counseling at the same time, and you have her saying that on July 9th he's making threats that are homicidal against her. On the 10th, he's committed. On the 16th, he checks himself out. We don't know how.
And what's remarkable about it is she doesn't go for a restraining order for another eight days, even though supposedly a bioweapons expert with homicidal threats is out there. She doesn't go to the police, the FBI, or even for a restraining order for eight days. It raises more questions than it gives me answers.
OLBERMANN: Here we go down another series of rabbit holes, I think. Investigator journalist Gerald Posner, thanks once again on this. I have a feeling we're going to be talking about it again. Thank you, sir.
POSNER: Thanks, Keith.
OLBERMANN: A story nearly as long and drawn out and convoluted as the last one, different kind of topic. Brett Favre is now eligible to retire all over again. Here's a shock, a comedian who makes 38 million dollars a year and couldn't care, couldn't tell you how much gas cost if it wasn't in the news, does not know the elemental truth. Check your tires and you will save four times as much oil as new offshore drilling could bring in. Worst persons ahead on Countdown.
OLBERMANN: It's like the dead king's ghost coming back to life in the middle of "Hamlet" and saying, I'll take it from here, son. The most popular player in football unretires, and why the team welcoming back him back today tried to get him to un-unretire. That's ahead, but first time for Countdown's worst persons in the world, our number two story.
The bronze to an Israeli couple turning their family vacation to Paris into a remake of "Home Alone." They boarded a charter yesterday with their duty free purchases and their 18 pieces of luggage and all four of their children in tow - five - five children. They forgot the girl. Brought the four boys, forgot the three-year-old daughter. Officials found her wandering around Ben Gurion airport and a nice lady escorted her to Paris on the next flight and reunited them her with the Mcallister (ph).
The silver to House Republicans grandstanding for more offshore drilling, trying to tag an amendment about it to another bill. The chairman of the Appropriations Subcommittee on Military Construction and Veterans Affairs promptly said, quote, we believe attaching non-germane amendments to this critical veterans bill could jeopardize its passage by unnecessarily delaying it or even grinding debate completely to a halt. That is unacceptable.
The Republicans promptly, proudly booed. That's when Representative Edwards added, those aren't my words. Those are the words of the Veterans of Foreign Wars. The GOP booed the VFW.
But our winners, Sean Hannity and comedian Rush Limbaugh, reading off the same set of Republican talking points, each derided Obama's mention of engine retuning and proper tire inflation as ways to cut down gas consumption; "you know what we need," said Hannity, "we need a Department of Tire Inflation. If we could just have a government program designed so that every American could have their tires checked on a regular basis, I'll tell you, I think we probably would be doing a lot better."
Good idea. We can just repurpose the current Department of Sean Hannity's Ego Inflation. Meanwhile, comedian said "this is ridiculous. This is a presidential candidate, and he's talking about keeping your tires inflated and getting regular tune ups and that would save as much oil as drilling would produce. This guy's the Democrat presidential nominee? Who has filled his head with this stuff?"
Well, probably Florida Republican Governor Charlie Crist and California Republican Governor Arnold Schwarzenegger and the Bush administration's Highway Department and Nascar. They all filled his head with that stuff, the fact that if every American car was tuned up and the tires properly inflated we would save 292 million barrels of gas a year.
Also of note, Rush Limbaugh and Sean Hannity have about as much personal concern about the price of a gallon of gas as I do, except I don't drive. Now Rush, answer us this question: who has filled your head with that stuff?
Sean Hannity and comedian Rush Limbaugh, today's worst persons in the world!
OLBERMANN: In the good business boardroom, somebody finally stands up and says, this is crazy or the emperor has no clothes. In the bad business boardroom, nobody says either and you get the Ford Edsel, New Coke and the war in Iraq. The Green Bay Packers, on the verge of paying an additional 20 million dollars for the privilege of not being talked out of the football equivalent of a war in which the troops were driving Edsels and armed with only New Coke, have just spun out of the skid.
Our number one story on the Countdown, Brett Favre as a Green Bay Packer quarterback again. The most popular player in the NFL coming off his second or third best season in the NFL, having been maybe one bad pass away from reaching the Super Bowl last February, tearfully called it quits in March, retired, and then slowly, painfully changed his mind.
The Packers responded to this by sticking their fingers in their ears and stamping their feet and talking about Iraq, hiring no less than a public relations expert and consultant Ari Fleischer. They said his backup, Aaron Rogers, was their starting quarterback now and they've moved on. That was it. They threatened to allow Favre to return to the team, but not use him in training camp, then release him as the season began, destroying his value to any other team. They threatened to trade him to another team for which he did not want to play. Finally, they offered him 20 million dollars to go away, to join the club in a non-playing capacity and stay retired.
That's when, apparently, somebody in management stood up and said, this is nuts. This afternoon, Favre was officially restored to the Packers roster. So this memorable, blueberry retirement speech is hereby kicked out of the news conference hall of fame.
BRET FAVRE, NFL QUARTERBACK: I hope that every - I hope that every penny that they've spent on me they know was money well spent.
OLBERMANN: By day, Jim Vandehei is the executive editor of Politico.com. The rest of the time he is a Cheese-Head and the newest blogger on PackerGeeks.com. Jim, good evening. May the Vince Lombardi be with you.
JIM VANDEHEI, POLITICO.COM: A pleasure to be here. I can finally be opinionated.
OLBERMANN: Before what led up to this, what's next? He has to win his starting job back now against Aaron Rogers, the Aaron Rogers?
VANDEHEI: It's a done deal. It looks like they'll announce tonight that he's going to get a chance to have open competition to get the starting job. He'll mop up the floor with Aaron Rogers and probably by week two of preseason, he will be the starting quarterback, which he should be. This is football not church. We don't want the most moral or the most consistent person. We want the person who can win football games.
He obviously can do it. He had an amazing season which you outlined a little while ago last year and we can anticipate that he would probably do the same thing this year. So I think he'll win the competition easily.
OLBERMANN: So review this, probably the most popular player in football at the moment coming off one of his greatest seasons, certainly the one in which he finally got what not to do, don't throw dangerous passes when they're not necessary; why were the Packers so hell bent to force him to stay retired?
VANDEHEI: Because Favre is a self-indulgent drama queen. He's done this every season. He couldn't make up his mind on whether to retire or not to retire. He put them through all of this sort of pain internally. They moved on, went to a new system, got some different quarterbacks in. With all that said, who cares? He gives you a better chance to win football games, so I think smarter heads have prevailed. Certainly the coaches and I think the veteran players are thinking Brett Favre, Aaron Rogers, this is nuts. Give us Brett Favre. I think they'll get Brett Favre. And hopefully two or three weeks from now, we're not talking about any of this, and all Packer fans will be happy and smiling and talking about winning football games and eating brats.
OLBERMANN: Do we know which cooler heads prevailed? I've known Mark Murphy, their new president for 30 years. I knew him in college. I knew him when he played for the Redskins. He is a very smart guy. Do you think he's the guy who woke up and said what are we doing.
VANDEHEI: He probably had to be the guy who brokered it. Ted Thompson is the GM of the Packers, and clearly has a personal issue with Favre. The two of them seem to hate each other. I think it's really complicated their relationship and Favre's relationship with the Packers. So Murphy and probably McCarthy, the coach of the Packers, said listen, we got to look at who can give us the best chance to win. Favre has got a gun against our head. He is coming back. He only wants to play with us or the Vikings. That's the reason Packer fans are so upset right now, is that is Favre has publicly talked about going to the Vikings. That's like you talking going to Fox News and being O'Reilly's side kick. You can't do that in Green Bay.
OLBERMANN: I need a shower. How many other teams would have welcomed him? You mentioned the Vikings, how many other teams do you think would have welcomed him? And did anybody in the NFL ever dream of saying, hey, you know, if the Packers don't want him, let's do this, the thing they did with Red Grange 80 years ago. We'll give him his own expansion team in L.A. or something.
VANDEHEI: I don't get it. The only teams that talked about wanting him or at least had any indication that anyone had were Tampa Bay and a couple other teams. And the truth is every year I make a pilgrimage to Lambeau Field with my brother, my buddy Denny and Dale. And it's going to be a heck of a lot more gratifying with Brett Favre as quarterback. I would think that virtually every fan in every city would say the same thing.
OLBERMANN: What was the - there were attempts to rally support for him among Packers fans, which constituted - a Packer fan is like 9/10 of the citizenship of Green Bay, Wisconsin and the environs. Why were those public events so poorly attended? Do you have any guess on that?
VANDEHEI: I think Packer fans were totally divided on this. People were really sick and tired of Favre's drama. It wasn't just this season. It's been the last three or four seasons, where he can't make up his mind. There's no doubt that, yes, Favre loves football and he is one of the most fantastic players to watch in our lifetime, but it really is about Brett Favre. And people sort of get fed up with it. They're intrigued by the idea of we're going to move on; we have this Aaron Rogers we've invested money and time in, and let's see him play.
There are certainly divisions. There are divisions inside my own family about whether Favre should come back and be the starting quarterback. There's no doubt, if they're winning football games in the season, this will be long forgotten and we'll all be happy.
OLBERMANN: Yes, the MVP trophies have his name on them. I believe, and you can correct me, maybe you know more about this than I do, I'm only on the football show, the Super Bowl Trophy says Green Bay Packers, right?
VANDEHEI: Absolutely. Lombardi Trophy, and it's Brett Favre. I mean, the guy, in my lifetime, a little younger than you - in my lifetime, you've got Favre and you've got Jordan. They are two must sees in sports. And there is no doubt we'd like to have him for a couple more years.
OLBERMANN: Jim Vandehei, executive editor of Politico.com, guest blogger at PackerGeeks.com, and as you can see, a very happy guy tonight. Thanks, Jim.
VANDEHEI: Have a good night.
OLBERMANN: That's Countdown for this the 1,923rd day since the declaration of mission accomplished in Iraq. I'm Keith Olbermann, good night and good luck.
THIS IS A RUSH TRANSCRIPT. THIS COPY MAY NOT BE IN ITS FINAL FORM AND MAY BE UPDATED. END
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AMD Reports Fourth Quarter and Annual 2018 Financial Results
Annual revenue grew by more than $1.2 billion with highest profitability in 7 years
January 29, 2019 16:15 ET | Source: Advanced Micro Devices
SANTA CLARA, Calif., Jan. 29, 2019 (GLOBE NEWSWIRE) -- AMD (NASDAQ:AMD) today announced revenue for fiscal year 2018 of $6.48 billion, operating income of $451 million, net income of $337 million and diluted earnings per share of $0.32. On a non-GAAP(1) basis, operating income was $633 million, net income was $514 million and diluted earnings per share was $0.46.
For the fourth quarter of 2018, the Company reported revenue of $1.42 billion, operating income of $28 million, net income of $38 million and diluted earnings per share of $0.04. On a non-GAAP(1) basis, operating income was $109 million, net income was $87 million and diluted earnings per share was $0.08.
Annual Financial Results
GAAP Non-GAAP
2018 2017 Y/Y 2018 2017 Y/Y
Revenue ($B) $6.48 $5.25 Up 23% $6.48 $5.25 Up 23%
Gross margin 38% 34% Up 4 pp 39% 34% Up 5 pp
Operating expense ($M) $1,996 $1,712 Up $284 $1,863 $1,617 Up $246
Operating income ($M) $451 $127 Up $324 $633 $224 Up $409
Net income (loss) ($M) $337 $(33) Up $370 $514 $103 Up $411
Earnings (loss) per share $0.32 $(0.03) Up $0.35 $0.46 $0.10 Up $0.36
GAAP Quarterly Financial Results
Q4 2018 Q4 2017 Y/Y Q3 2018 Q/Q
Revenue ($B) $1.42 $1.34 Up 6% $1.65 Down 14%
Gross margin 38% 34% Up 4 pp 40% Down 2 pp
Operating expense ($M) $509 $454 Up $55 $511 Down $2
Operating income (loss) ($M) $28 $(2) Up $30 $150 Down $122
Net income (loss) ($M) $38 $(19) Up $57 $102 Down $64
Earnings (loss) per share $0.04 $(0.02) Up $0.06 $0.09 Down $0.05
Non-GAAP(1) Quarterly Financial Results
Gross margin 41% 34% Up 7 pp 40% Up 1 pp
Operating income ($M) $109 $19 Up $90 $186 Down $77
Net income ($M) $87 $8 Up $79 $150 Down $63
Earnings per share $0.08 $0.01 Up $0.07 $0.13 Down $0.05
“In 2018 we delivered our second straight year of significant revenue growth, market share gains, expanded gross margin and improved profitability based on our high-performance products. Importantly, we more than doubled our EPYC processor shipments sequentially and delivered record GPU datacenter revenue in the quarter,” said Dr. Lisa Su, AMD president and CEO. “Despite near-term graphics headwinds, 2019 is shaping up to be another exciting year driven by the launch of our broadest and most competitive product portfolio ever with our next-generation 7nm Ryzen, Radeon, and EPYC products.”
2018 Annual Results
Revenue of $6.48 billion was up 23 percent year-over-year primarily driven by higher revenue in the Computing and Graphics segment.
Gross margin was 38 percent compared to 34 percent for the prior year. Non-GAAP(1) gross margin was 39 percent compared to 34 percent in the prior year. Gross margin expansion was primarily driven by our new Ryzen™ , EPYC™ and Radeon™ products.
Operating income was $451 million compared to $127 million in the prior year. Non-GAAP operating income was $633 million compared to $224 million in the prior year. The operating income improvement was primarily due to higher revenue and gross margin expansion partially offset by higher operating expenses.
Net income was $337 million compared to a net loss of $33 million in the prior year. Non-GAAP net income was $514 million compared to $103 million in the prior year.
Diluted earnings per share was $0.32 compared to a loss per share of $0.03 in 2017. Non-GAAP diluted earnings per share was $0.46 compared to $0.10 in the prior year.
Cash, cash equivalents and marketable securities were $1.16 billion at the end of the year, down slightly from $1.18 billion at the end of 2017.
Free cash flow was negative $129 million for the year due to higher inventory related to new products and to the timing of collections.
Q4 2018 Results
Revenue of $1.42 billion was up 6 percent year-over-year primarily driven by the Computing and Graphics segment. Revenue was down 14 percent compared to the prior quarter as a result of lower revenue in the Enterprise, Embedded and Semi-Custom segment. Third quarter 2018 included approximately $125 million of IP-related revenue.
Gross margin was 38 percent compared to 34 percent a year ago and 40 percent in the prior quarter. Fourth quarter gross margin included a $45 million charge related to older technology licenses that are no longer being used. Non-GAAP gross margin was 41 percent compared to 34 percent a year ago and 40 percent in the prior quarter. Gross margin improvements were primarily driven by Ryzen and EPYC processor sales.
Operating income was $28 million compared to an operating loss of $2 million a year ago and operating income of $150 million in the prior quarter. On a non-GAAP basis, operating income was $109 million compared to $19 million a year ago and $186 million in the prior quarter. The year-over-year improvement was primarily due to the ramp of higher margin products in the Computing and Graphics segment. The decrease compared to the prior quarter was primarily due to seasonally lower Enterprise, Embedded and Semi-Custom segment revenue and the absence of IP-related revenue, partially offset by the benefit of new Ryzen, EPYC and Radeon products.
Net income was $38 million compared to a net loss of $19 million a year ago and net income of $102 million in the prior quarter. On a non-GAAP basis, net income was $87 million compared to $8 million a year ago and $150 million in the prior quarter.
Diluted earnings per share was $0.04 compared to a loss per share of $0.02 a year ago and diluted earnings per share of $0.09 in the prior quarter. On a non-GAAP basis, diluted earnings per share was $0.08 compared to $0.01 a year ago and $0.13 in the prior quarter.
Cash, cash equivalents and marketable securities were $1.16 billion at the end of the quarter as compared to $1.06 billion at the end of the prior quarter.
Free cash flow was $79 million for the quarter.
Quarterly Financial Segment Summary
Computing and Graphics segment revenue was $986 million, up 9 percent year-over-year and 5 percent compared to the prior quarter driven by strong sales of Ryzen processors.
Operating income was $115 million compared to $33 million a year ago and $100 million in the prior quarter. The year-over-year improvement was primarily driven by the ramp of Ryzen processors. The improvement compared to the prior quarter was primarily driven by Ryzen processors and datacenter GPUs, which more than offset the benefit of IP-related revenue in the third quarter of 2018.
Client processor average selling price (ASP) was up year-over-year and sequentially driven by Ryzen processor sales.
GPU ASP was up year-over-year and sequentially primarily due to higher datacenter GPU sales.
Enterprise, Embedded and Semi-Custom segment revenue was $433 million, flat year-over-year. Revenue declined 39 percent compared to the prior quarter driven by seasonally lower semi-custom sales, partially offset by strong EPYC datacenter processor sales.
Operating loss was $6 million compared to an operating loss of $13 million a year ago and operating income of $86 million in the prior quarter. The year-over-year improvement was primarily due to higher EPYC datacenter processor revenue partially offset by lower semi-custom sales and server-related investments. The decrease compared to the prior quarter was due to seasonally lower semi-custom sales, partially offset by higher EPYC datacenter processor revenue.
All Other operating loss was $81 million compared to operating losses of $22 million year-over-year and $36 million in the prior quarter, primarily due to the $45 million charge related to older technology licenses.
Wafer Supply Agreement Update
Today AMD announced it entered into a seventh amendment to its wafer supply agreement with GLOBALFOUNDRIES Inc. (GF). GF continues to be a long-term strategic partner to AMD for the 12nm node and above and the amendment establishes purchase commitments and pricing at 12nm and above for the years 2019 through 2021. The amendment provides AMD full flexibility for wafer purchases from any foundry at the 7nm node and beyond without any one-time payments or royalties.
Recent PR Highlights
At CES 2019, AMD highlighted leaps in computing, gaming and visualization technologies expected this year based on a combination of the advanced computing and graphics designs and leading-edge 7nm manufacturing.
AMD unveiled the Radeon™ VII graphics card, the world’s first 7nm gaming GPU, which features 2X the memory and 2.1X the memory bandwidth and is designed to deliver up to 29 percent higher gaming performance and up to 36 percent higher content creation performance compared to the previous generation. It is expected to be available February 2019.
AMD delivered the first public demonstration of its 3rd Generation AMD Ryzen™ processor, a high performance and highly efficient desktop processor expected to be available in mid-2019.
AMD announced a comprehensive notebook processor line up that further expands the company’s footprint in this growing PC market segment:
2nd Gen AMD Ryzen™ 3000 Series Mobile Processors for ultrathin notebooks
AMD Athlon™ 300 Series Mobile Processors for mainstream notebooks based on the “Zen” core architecture
AMD 7th Generation A-Series processors, the company’s first-ever solutions targeting the growing Chromebook market. Acer and HP both launched products based on these new processors at the tradeshow.
AMD also demonstrated the next generation AMD EPYC processors, delivering a significant increase in datacenter processing performance compared to current server processors. The next generation AMD EPYC processor is on track to start shipping in mid-2019.
AMD joined the NASDAQ-100® Index composed of the 100 largest non-financial companies listed on The NASDAQ Stock Market® based on market capitalization.
At AMD’s Next Horizon event in November, the Company demonstrated 7nm compute and graphics products delivering datacenter innovation:
AMD launched the world’s first 7nm datacenter GPUs, the AMD Radeon Instinct™ MI60 and MI50 accelerators, designed for deep learning, HPC, cloud computing and rendering workloads.
AMD shared new details on its upcoming “Zen 2” processor core architecture, including its revolutionary chiplet-based x86 CPU design which leverages AMD Infinity Fabric interconnect to link separate pieces of silicon within a single processor package. AMD provided the first public demonstration of the “Zen 2” core with its upcoming next-generation AMD EPYC processor, offering up to 64-cores per socket and revolutionary I/O.
AMD announced ROCm 2.0, a new version of its open-source software platform that allows customers to deploy high-performance, energy-efficient heterogeneous computing systems in an open environment.
New datacenter design wins and deployments demonstrate the power of AMD EPYC and AMD Radeon Instinct products for high-performance computing applications:
Amazon Web Services announced the availability of the first EPYC processor-based instances on Amazon Elastic Compute Cloud.
Lawrence Livermore National Laboratories and the High-Performance Computing Center of the University of Stuttgart selected AMD EPYC CPUs and AMD Radeon Instinct™ GPUs to power their new supercomputers.
The Department of Energy announced the new AMD EPYC processor-powered NERSC-9 supercomputer, “Perlmutter,” scheduled for delivery in 2020.
AMD further expanded the number one selling high-end desktop processor family with the availability of new AMD Ryzen™ Threadripper™ processors, powering the ultimate computing experiences for gamers, creators and enthusiasts. AMD also introduced new AMD Athlon™ processors with Radeon™ Vega graphics.
AMD provided gamers and creators with powerful new graphics and software solutions:
AMD unveiled AMD Radeon™ Vega Mobile graphics processors, including the AMD Radeon™ Pro Vega 20 and Radeon™ Pro Vega 16 graphics, which are available in Apple’s 15-inch MacBook Pro. Radeon Vega Mobile graphics enable creators with amazing performance in creative applications and deliver stunning 1080p HD gaming.
AMD introduced the Radeon™ RX 590, an advanced 12nm GPU powered by the AMD “Polaris” architecture, delivering amazing gaming experiences and outstanding performance for the latest AAA, esports and VR game titles.
AMD released the next generation of its consumer-focused software suite for Radeon GPUs, AMD Radeon™ Software Adrenalin 2019 Edition, delivering up to 15 percent average higher performance for some of today’s top game titles compared to the previous version, and new features such as device-independent wireless PC-to-VR streaming.
Current Outlook
AMD’s outlook statements are based on current expectations. The following statements are forward-looking, and actual results could differ materially depending on market conditions and the factors set forth under “Cautionary Statement” below.
For the first quarter of 2019, AMD expects revenue to be approximately $1.25 billion, plus or minus $50 million, a decrease of approximately 12 percent sequentially and 24 percent year-over-year. The sequential decrease is expected to be primarily driven by continued softness in the graphics channel and seasonality across the business. The year-over-year decrease is expected to be primarily driven by lower graphics sales due to excess channel inventory, the absence of blockchain-related GPU revenue and lower memory sales. In addition, semi-custom revenue is expected to be lower year-over-year while Ryzen, EPYC and Radeon datacenter GPU product sales are expected to increase. AMD expects non-GAAP gross margin to be approximately 41 percent in the first quarter of 2019. In addition, the Company expects to record a $60 million IP licensing gain which will be a benefit to operating income and recorded on the licensing gain line of the P&L.
For full year 2019, AMD expects high single digit percentage revenue growth driven by Ryzen, EPYC and Radeon datacenter GPU product sales as the Company ramps 7nm products throughout the year. AMD expects non-GAAP gross margin to be greater than 41 percent for 2019.
AMD Teleconference
AMD will hold a conference call for the financial community at 2:30 p.m. PT (5:30 p.m. ET) today to discuss its fourth quarter and fiscal year 2018 financial results. AMD will provide a real-time audio broadcast of the teleconference on the Investor Relations page of its website at www.amd.com. The webcast will be available for 12 months after the conference call.
RECONCILIATION OF GAAP TO NON-GAAP FINANCIAL MEASURES
(In millions, except per share data) Three Months Ended Year Ended
2018 September 29,
GAAP gross margin $ 537 $ 661 $ 452 $ 2,447 $ 1,787
GAAP gross margin % 38 % 40 % 34 % 38 % 34 %
Impairment of technology licenses 45 — — 45 —
Stock-based compensation 1 1 — 4 2
Non-GAAP gross margin $ 583 $ 662 $ 452 $ 2,496 $ 1,789
Non-GAAP gross margin % 41 % 40 % 34 % 39 % 34 %
GAAP operating expenses $ 509 $ 511 $ 454 $ 1,996 $ 1,712
Stock-based compensation 35 35 21 133 95
Non-GAAP operating expenses $ 474 $ 476 $ 433 $ 1,863 $ 1,617
GAAP operating income (loss) $ 28 $ 150 $ (2 ) $ 451 $ 127
Non-GAAP operating income $ 109 $ 186 $ 19 $ 633 $ 224
Three Months Ended Year Ended
GAAP net income (loss) / earnings (loss) per share $ 38 $ 0.04 $ 102 $ 0.09 $ (19 ) $ (0.02 ) $ 337 $ 0.32 $ (33 ) $ (0.03 )
Loss on debt redemption 5 — 6 — 3 — 12 0.01 12 0.01
Non-cash interest expense related to convertible debt 6 0.01 6 0.01 5 — 24 0.02 22 0.02
Stock-based compensation 36 0.03 36 0.03 21 0.02 137 0.11 97 0.09
Gain on sale of 85% of ATMP — — — — (3 ) — — — (3 ) —
Tax provision related to sale of 85% of ATMP JV — — — — 1 — — — 1 —
Impairment of technology licenses 45 0.04 — — — — 45 0.04 — —
Equity loss in investee — — — — — — 2 — 7 0.01
Withholding tax refund including interest (43 ) (0.04 ) — — — — (43 ) (0.04 ) — —
Non-GAAP net income / earnings per share $ 87 $ 0.08 $ 150 $ 0.13 $ 8 $ 0.01 $ 514 $ 0.46 $ 103 $ 0.10
Shares used and net income adjustment in earnings (loss) per share calculation
Shares used in per share calculation (GAAP) (1) 1,079 1,076 965 1,064 952
Interest expense add-back to GAAP net income $ — $ — $ — $ — $ —
Shares used in per share calculation (Non-GAAP) 1,180 1,177 1,037 1,165 1,039
Interest expense add-back to Non-GAAP net income (2) $ 5 $ 4 $ — $ 18 $ —
(1) The three months and year ended December 30, 2017 GAAP net loss per share is calculated using basic shares.
(2) The three months and year ended December 30, 2017 do not include 100.6 million shares related to the conversion of the Company’s 2026 Convertible Notes and the interest expense add-back to Non-GAAP net income because their inclusion would have been anti-dilutive under the "if-converted" method.
About AMD
For nearly 50 years, AMD has driven innovation in high-performance computing, graphics and visualization technologies - the building blocks for gaming, immersive platforms and the datacenter. Hundreds of millions of consumers, leading Fortune 500 businesses and cutting-edge scientific research facilities around the world rely on AMD technology daily to improve how they live, work and play. AMD employees around the world are focused on building great products that push the boundaries of what is possible. For more information about how AMD is enabling today and inspiring tomorrow, visit the AMD (NASDAQ: AMD) website, blog, Facebook and Twitter pages.
This document contains forward-looking statements concerning Advanced Micro Devices, Inc. (AMD) such as the features, functionality, availability, timing and expected benefits of AMD’s future products and technologies including, Radeon™ VII graphics processors, AMD’s 3rd Generation AMD Ryzen™ processors, and the next generation AMD EPYC™ processors, codenamed “Rome”; AMD’s expected first quarter 2019 and fiscal 2019 financial outlook including, revenue along with the expected drivers of such revenue, and non-GAAP gross margin; and expected IP licensing gain, which are made pursuant to the Safe Harbor provisions of the Private Securities Litigation Reform Act of 1995. Forward looking statements are commonly identified by words such as "would," "may," "expects," "believes," "plans," "intends," "projects" and other terms with similar meaning. Investors are cautioned that the forward-looking statements in this document are based on current beliefs, assumptions and expectations, speak only as of the date of this document and involve risks and uncertainties that could cause actual results to differ materially from current expectations. Such statements are subject to certain known and unknown risks and uncertainties, many of which are difficult to predict and generally beyond AMD's control, that could cause actual results and other future events to differ materially from those expressed in, or implied or projected by, the forward-looking information and statements. Material factors that could cause actual results to differ materially from current expectations include, without limitation, the following: Intel Corporation’s dominance of the microprocessor market and its aggressive business practices may limit AMD’s ability to compete effectively; AMD has a wafer supply agreement with GF with obligations to purchase all of its microprocessor and APU product requirements, and a certain portion of its GPU product requirements from GF with limited exceptions. If GF is not able to satisfy AMD’s manufacturing requirements, AMD’s business could be adversely impacted; AMD relies on third parties to manufacture its products, and if they are unable to do so on a timely basis in sufficient quantities and using competitive technologies, AMD’s business could be materially adversely affected; failure to achieve expected manufacturing yields for AMD’s products could negatively impact its financial results; the success of AMD’s business is dependent upon its ability to introduce products on a timely basis with features and performance levels that provide value to its customers while supporting and coinciding with significant industry transitions; if AMD cannot generate sufficient revenue and operating cash flow or obtain external financing, it may face a cash shortfall and be unable to make all of its planned investments in research and development or other strategic investments; the loss of a significant customer may have a material adverse effect on AMD; AMD’s receipt of revenue from its semi-custom SoC products is dependent upon its technology being designed into third-party products and the success of those products; AMD’s products may be subject to security vulnerabilities that could have a material adverse effect on AMD; data breaches and cyber-attacks could compromise AMD’s intellectual property or other sensitive information, be costly to remediate and cause significant damage to its business and reputation; AMD’s operating results are subject to quarterly and seasonal sales patterns; global economic uncertainty may adversely impact AMD’s business and operating results; AMD may not be able to generate sufficient cash to service its debt obligations or meet its working capital requirements; AMD has a large amount of indebtedness which could adversely affect its financial position and prevent it from implementing its strategy or fulfilling its contractual obligations; the agreements governing AMD’s notes and the Secured Revolving Line of Credit impose restrictions on AMD that may adversely affect AMD’s ability to operate its business; the markets in which AMD’s products are sold are highly competitive; AMD’s worldwide operations are subject to political, legal and economic risks and natural disasters, which could have a material adverse effect on it; AMD’s issuance to West Coast Hitech L.P. (WCH) of warrants to purchase 75 million shares of its common stock, if and when exercised, will dilute the ownership interests of AMD’s existing stockholders, and the conversion of the 2.125% Convertible Senior Notes due 2026 (2.125% Notes) may dilute the ownership interest of AMD’s existing stockholders, or may otherwise depress the price of its common stock; uncertainties involving the ordering and shipment of AMD’s products could materially adversely affect it; the demand for AMD’s products depends in part on the market conditions in the industries into which they are sold. Fluctuations in demand for AMD’s products or a market decline in any of these industries could have a material adverse effect on its results of operations; AMD’s ability to design and introduce new products in a timely manner is dependent upon third-party intellectual property; AMD depends on third-party companies for the design, manufacture and supply of motherboards, software and other computer platform components to support its business; if AMD loses Microsoft Corporation’s support for its products or other software vendors do not design and develop software to run on AMD’s products, its ability to sell its products could be materially adversely affected; AMD’s reliance on third-party distributors and add-in-board (AIB) partners subjects it to certain risks; AMD may incur future impairments of goodwill and technology license purchases; AMD’s inability to continue to attract and retain qualified personnel may hinder its business; in the event of a change of control, AMD may not be able to repurchase its outstanding debt as required by the applicable indentures and its Secured Revolving Line of Credit, which would result in a default under the indentures and its Secured Revolving Line of Credit; the semiconductor industry is highly cyclical and has experienced severe downturns that have materially adversely affected, and may continue to materially adversely affect its business in the future; acquisitions, divestitures and/or joint ventures could disrupt its business, harm its financial condition and operating results or dilute, or adversely affect the price of, its common stock; AMD’s business is dependent upon the proper functioning of its internal business processes and information systems and modification or interruption of such systems may disrupt its business, processes and internal controls; if essential equipment, materials or manufacturing processes are not available to manufacture its products, AMD could be materially adversely affected; if AMD’s products are not compatible with some or all industry-standard software and hardware, it could be materially adversely affected; costs related to defective products could have a material adverse effect on AMD; if AMD fails to maintain the efficiency of its supply chain as it responds to changes in customer demand for its products, its business could be materially adversely affected; AMD outsources to third parties certain supply-chain logistics functions, including portions of its product distribution, transportation management and information technology support services; AMD’s stock price is subject to volatility; worldwide political conditions may adversely affect demand for AMD’s products; unfavorable currency exchange rate fluctuations could adversely affect AMD; AMD’s inability to effectively control the sales of its products on the gray market could have a material adverse effect on it; if AMD cannot adequately protect its technology or other intellectual property in the United States and abroad, through patents, copyrights, trade secrets, trademarks and other measures, it may lose a competitive advantage and incur significant expenses; AMD is a party to litigation and may become a party to other claims or litigation that could cause it to incur substantial costs or pay substantial damages or prohibit it from selling its products; AMD’s business is subject to potential tax liabilities; and AMD is subject to environmental laws, conflict minerals-related provisions of the Dodd-Frank Wall Street Reform and Consumer Protection Act as well as a variety of other laws or regulations that could result in additional costs and liabilities. Investors are urged to review in detail the risks and uncertainties in AMD's Securities and Exchange Commission filings, including but not limited to AMD's Quarterly Report on Form 10-Q for the quarter ended September 29, 2018.
1. In this earnings press release, in addition to GAAP financial results, AMD has provided non-GAAP financial measures including non-GAAP gross margin, non-GAAP operating expense, non-GAAP operating income (loss), non-GAAP net income (loss) and non-GAAP earnings (loss) per share. These non-GAAP financial measures reflect certain adjustments as presented in the tables in this earnings press release. AMD also provided adjusted EBITDA and free cash flow as supplemental non-GAAP measures of its performance. These items are defined in the footnotes to the selected corporate data tables provided at the end of this earnings press release. AMD is providing these financial measures because it believes this non-GAAP presentation makes it easier for investors to compare its operating results for current and historical periods and also because AMD believes it assists investors in comparing AMD’s performance across reporting periods on a consistent basis by excluding items that it does not believe are indicative of its core operating performance and for the other reasons described in the footnotes to the selected data tables. Refer to the data tables at the end of this earnings press release.
AMD, the AMD Arrow logo, EPYC, Radeon, Ryzen, Threadripper and combinations thereof, are trademarks of Advanced Micro Devices, Inc. Other names are for informational purposes only and used to identify companies and products and may be trademarks of their respective owner.
ADVANCED MICRO DEVICES, INC.
CONDENSED CONSOLIDATED STATEMENTS OF OPERATIONS
(Millions except per share amounts and percentages)
Net revenue $ 1,419 $ 1,653 $ 1,340 $ 6,475 $ 5,253
Cost of sales 882 992 888 4,028 3,466
Gross margin 537 661 452 2,447 1,787
Gross margin % 38 % 40 % 34 % 38 % 34 %
Research and development 371 363 320 1,434 1,196
Marketing, general and administrative 138 148 134 562 516
Licensing gain - - - - (52 )
Operating income (loss) 28 150 (2 ) 451 127
Interest expense (29 ) (30 ) (31 ) (121 ) (126 )
Other income (expense), net 4 (6 ) 2 - (9 )
Income (loss) before equity loss and income taxes 3 114 (31 ) 330 (8 )
Provision (benefit) for income taxes (35 ) 12 (12 ) (9 ) 18
Equity loss in investee - - - (2 ) (7 )
Net Income (loss) $ 38 $ 102 $ (19 ) $ 337 $ (33 )
Earnings (loss) per share
Basic $ 0.04 $ 0.10 $ (0.02 ) $ 0.34 $ (0.03 )
Diluted $ 0.04 $ 0.09 $ (0.02 ) $ 0.32 $ (0.03 )
Shares used in per share calculation
Basic 1,002 987 965 982 952
Diluted 1,079 1,076 965 1,064 952
Marketable securities 78 -
Accounts receivable, net 1,235 454
Inventories, net 845 694
Prepayment and receivables - related parties 52 33
Prepaid expenses 57 77
Other current assets 195 191
Total current assets 3,540 2,634
Goodwill 289 289
Investment: equity method 58 58
Other assets 321 310
Total Assets $ 4,556 $ 3,552
Short-term debt $ 136 $ 70
Accounts payable 528 384
Payables to related parties 533 412
Accrued liabilities 763 555
Other current liabilities 24 92
Long-term debt, net 1,114 1,325
Other long-term liabilities 192 118
Capital stock:
Common stock, par value 10 9
Additional paid-in capital 8,750 8,464
Treasury stock, at cost (50 ) (108 )
Accumulated deficit (7,436 ) (7,775 )
Accumulated other comprehensive income (loss) (8 ) 6
Total Stockholders' equity 1,266 596
Total Liabilities and Stockholders' Equity $ 4,556 $ 3,552
SELECTED CASH FLOW INFORMATION
Net cash provided by (used in)
Operating activities $ 120 $ 34
Investing activities $ (88 ) $ (170 )
Financing activities $ - $ 28
During 2018, the Company adopted Accounting Standards Update (ASU) 2016-15, Statement of Cash Flows - Classification of Certain Cash Receipts and Cash Payments which reclassified certain cash receipts from operating activities to investing activities, with retrospective application. All periods presented conform to the classification requirements of the standard. The adoption of this standard does not reflect a change in the underlying business or activities and had no material impact on the Company's consolidated statements of cash flows.
SELECTED CORPORATE DATA
Segment and Category Information December 29,
Computing and Graphics (1)
Net revenue $ 986 $ 938 $ 908 $ 4,125 $ 2,977
Operating income $ 115 $ 100 $ 33 $ 470 $ 92
Enterprise, Embedded and Semi-Custom (2)
Operating income (loss) $ (6 ) $ 86 $ (13 ) $ 163 $ 132
Net revenue - - - - -
Operating loss $ (81 ) $ (36 ) $ (22 ) $ (182 ) $ (97 )
Operating income (loss) $ 28 $ 150 $ (2 ) $ 451 $ 127
Capital expenditures $ 41 $ 33 $ 44 $ 163 $ 113
Adjusted EBITDA (4) $ 152 $ 227 $ 58 $ 803 $ 368
Cash, cash equivalents and marketable securities $ 1,156 $ 1,056 $ 1,185 $ 1,156 $ 1,185
Free cash flow (5) $ 79 $ 44 $ 322 $ (129 ) $ (105 )
Total assets $ 4,556 $ 4,347 $ 3,552 $ 4,556 $ 3,552
Total debt $ 1,250 $ 1,303 $ 1,395 $ 1,250 $ 1,395
See footnotes on the next page
(1) The Computing and Graphics segment primarily includes desktop and notebook processors and chipsets, discrete and integrated graphics processing units (GPUs) and professional GPUs. The Company also licenses portions of its intellectual property portfolio.
(2) The Enterprise, Embedded and Semi-Custom segment primarily includes server and embedded processors, semi-custom System-on-Chip (SoC) products, development services and technology for game consoles. The Company also licenses portions of its intellectual property portfolio.
(3) All Other category primarily includes certain expenses and credits that are not allocated to any of the operating segments. Also included in this category is stock-based compensation expense. In addition, the Company also included an impairment of technology licenses in the three months and year ended December 29, 2018.
(4) Reconciliation of GAAP Operating Income (Loss) to Adjusted EBITDA*
Impairment of technology licenses 45 - - 45 -
Depreciation and amortization 43 41 39 170 144
Adjusted EBITDA $ 152 $ 227 $ 58 $ 803 $ 368
(5) Reconciliation of GAAP Net Cash Provided by Operating Activities to Free Cash Flow**
GAAP net cash provided by operating activities $ 120 $ 77 $ 366 $ 34 $ 8
Purchases of property and equipment (41 ) (33 ) (44 ) (163 ) (113 )
Free cash flow $ 79 $ 44 $ 322 $ (129 ) $ (105 )
* The Company presents “Adjusted EBITDA” as a supplemental measure of its performance. Adjusted EBITDA for the Company is determined by adjusting operating income for stock-based compensation and depreciation and amortization expense. In addition, the Company also included an impairment of technology licenses in the three months and year ended December 29, 2018. The Company calculates and presents Adjusted EBITDA because management believes it is of importance to investors and lenders in relation to its overall capital structure and its ability to borrow additional funds. In addition, the Company presents Adjusted EBITDA because it believes this measure assists investors in comparing its performance across reporting periods on a consistent basis by excluding items that the Company does not believe are indicative of its core operating performance. The Company’s calculation of Adjusted EBITDA may or may not be consistent with the calculation of this measure by other companies in the same industry. Investors should not view Adjusted EBITDA as an alternative to the GAAP operating measure of operating income (loss) or GAAP liquidity measures of cash flows from operating, investing and financing activities. In addition, Adjusted EBITDA does not take into account changes in certain assets and liabilities as well as interest income and expense and income taxes that can affect cash flows.
** The Company also presents free cash flow as a supplemental Non-GAAP measure of its performance. Free cash flow is determined by adjusting GAAP net cash provided by (used in) operating activities for capital expenditures. The Company calculates and communicates free cash flow in the financial earnings press release because management believes it is of importance to investors to understand the nature of these cash flows. The Company’s calculation of free cash flow may or may not be consistent with the calculation of this measure by other companies in the same industry. Investors should not view free cash flow as an alternative to GAAP liquidity measures of cash flows from operating activities. In 2018, the Company adopted Accounting Standards Update (ASU) 2016-15, Statement of Cash Flows - Classification of Certain Cash Receipts and Cash Payments, which reclassified certain cash receipts from operating activities to investing activities, with retrospective application. All periods presented conform to the classification requirements of the standard. The adoption of this standard does not reflect a change in the underlying business or activities and had no material impact on the Company's consolidated statements of cash flows.
The Company has provided reconciliations within the earnings press release of these non-GAAP financial measures to the most directly comparable GAAP financial measures.
Drew Prairie
AMD Communications
drew.prairie@amd.com
AMD Investor Relations
laura.graves@amd.com
More articles issued by Advanced Micro Devices, Inc.
Santa Clara, California, UNITED STATES
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News & Notes: February 7, 2014
Although it's still winter - and the snow seems never-ending - it's not too early to think about going down the shore. At the Tropicana Casino and Resort in Atlantic City, the Broadway Burger Bar (2801 Pacific Ave., 609-317-4660) serves burgers on gluten-free buns, while Trop outpost of the legendary New York City family-style Italian restaurant Carmine's (2801 Pacific Ave., 609-572-9300) has a series of allergen menus that include gluten-free-friendly selections, including pasta.
In Ocean View, Cape May County, Seaville Tavern (29 New Bridge Rd., 609-624-3136) has gluten-free wings (prepared in a dedicated fryer), salads, seafood and ribs marked on the menu.
The Arlington, a new contemporary American restaurant in Ship Bottom, Long Beach Island (1302 Long Beach Blvd., 609-494-8848), notes gluten-free options on its menus.
Back on the mainland, Piccolo Trattoria locations in Pennington (800 Denow Rd., 609-737-9050) and Langhorne (144 N. Flowers Mill Rd., 215-750-3639) serve gluten-free pizza and spaghetti.
Pizza, flatbread and linguine are on the gluten-free menu at Prima's Pizza in Hockessin (7454 Lancaster Pike, 302-239-3522). I'm told that the pasta is prepared in a separate pot and the pizzas are made with separate ingredients and are oven-baked on screens.
Two national chains with extensive gluten-free menus have opened side-by-side in Mercer County, New Jersey. Outback Steakhouse (3371 Brunswick Pike, 609-799-3039) and Bonefish Grill (3371 Brunswick Pike, 609-799-3413) just debuted at the Mercer Mall in Lawrenceville.
Across the street at the Quaker Bridge Mall, Italian chain Brio Tuscan Grille (3320 Brunswick Pike, 609-799-3169), with a modest gluten-free menu that includes pasta, recently opened.
Rosa Blanca, the Cuban diner in Center City Philadelphia that's the newest creation of celebrity chef Jose Garces, has a number of gluten-free options - including complimentary cheese bread - but be prepared to be patient, as I wrote in Tuesday's review.
Philly.com reports that gluten-free-friendly salad and stir-fry purveyor Honeygrow is expanding to the Garden State. With locations in Center City Philadelphia and Bala Cynwyd (and another coming to Radnor), Honeygrow intends to open a New Jersey location in Cherry Hill's Ellisburg Circle Shopping Center this fall, where a new Whole Foods market is set to open in the spring.
Need another reason to download the Gluten Free Philly business-finder app for iOS and Android devices? Now there's an option to book reservations at local restaurants participating in OpenTable and CityEats. The app features more than 1,300 area gluten-free-friendly businesses in the tri-state area and makes its simple to find places on the go, locate restaurants by neighborhood and cuisine, and more. If you've already got the app, please post a nice review at the Apple App Store and the Google Play Store.
The Girl Scouts of Eastern Pennsylvania have partnered with the culinary staff at renowned chef
Emeril Lagasse’s restaurants at Sands Casino Resort in nearby Bethlehem to create original dessert recipes that incorporate Girl Scout Cookies as ingredients. Emeril Lagasse’s daughter, Jilly Lagasse, co-author of The Gluten-Free Table and a former Girl Scout herself, helped develop a gluten-free dessert recipe incorporating the popular gluten-free Chocolate Chip Shortbread Cookies. The dessert is “tea-a-misu,” a gluten-free take on the Italian dessert tiramisu; the cookies are soaked in Earl Grey tea with whipped mascarpone filling and laced with citrus and shaved white chocolate. (Check out the recipe.) The dessert is being served at Emeril’s Chop House through the end of February.
Rudi’s Gluten-Free Bakery has debuted two varieties of heat-and-serve gluten-free ciabatta rolls. Ready to eat in about 10 minutes, the frozen rolls are designed to bake up crispy on the outside and soft on the inside. Available in both Regular and Rosemary Olive Oil flavors, they’re offered in resealable eight-count bags with a $6.49 suggested retail price, although I spotted them this week at the ShopRite in Cherry Hill on sale for $4.99. Rudi's has a $1-off coupon available for printing from its website.
Labels: breads, desserts, restaurants
nio February 9, 2014 at 11:04 PM
Mageline's macarons are the best... you should try them! We're in Southern California and they deliver here!
News & Notes: February 28, 2014
First Draft: Gluten-Free Beer Singles
Stepping It Up at Starbucks
Every Rose Has Its Thorn
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Behind the camera: US Military
Where: Military Photographer
Photo Summary: DoD portrait
Picture Taken: Undated
This image is in the public domain because it was taken by a federal employee
Jessica Lynch became one of the main news stories of the 2003 American invasion of Iraq. Media jumped on the story of a cute little blond soldier who was plucked from behind enemy lines by US Special Forces. The American military filmed the rescue attempt and footage from the official military cut and stills from the footage became one of the most viewed pictures of the war. When talking about Jessica the media would also cut to a DoD portrait of her probably the most famous soldier of the war.
Jessica Dawn Lynch
Andy Stumpf a member of the team who rescused Jessica interviewed her in July 2, 2018
Jessica Dawn Lynch was born on April 26, 1983, in Palestine, West Virginia. She joined the army hoping to see the world after being turned down for a job at Walmart. She was assigned to the 507th Maintenance Company (based in Fort Bliss, Texas) as a Quartermaster Corps Private First Class (PFC).
The 507th Maintenance Company is based out of Fort Bliss, Texas. Made up of cooks, clerks, mechanics and other support staff provided they keep the 5th Battalion, 52nd Air Defense Artillery (ADA) running.
A trailing vehicle convoy of this unit got lost during the rapid advance towards Baghdad during Operation Iraqi Freedom on March 23, 2003. The 507th was last in a marching column of over 600 vehicles from the 3rd Infantry Division. This element which included the heavier, slower vehicles of the 507th, made a wrong turn into Nasiriyah, a major crossing point over the Euphrates River northwest of Basra. After the war, a U.S. Army investigation concluded that this wrong turn was the result of a navigational error compounded by a lack of rest, limited communications and human error.
Nasiriyah was still under Iraqi control and as the 507th drove around its crowded streets desperately trying to find their way out of the city they drove into an ambush where most in the unit were gunned down. Five members were able to get away but six either too wounded to run or totally surrounded by enemy forces surrendered after their weapons jammed from the Iraqi sand. Those taken prisoners were:
Spc. Edgar Hernandez, 21, of Mission, Texas, was hit in the biceps of his right arm.
Spc. Joseph Hudson, 23, of Alamogordo, New Mexico, was shot three times, twice in the ribs and once in the upper left buttocks.
Spc. Shoshana Johnson, 32, a naturalized American from Panama, was shot with a single bullet that sliced through both ankles. She was the first black women ever taken prisoner in American military history.
Private First Class Patrick Miller, 23, of Wichita, Kansas
Sgt. James Riley – 31-year-old bachelor from Pennsauken, New Jersey. As the senior soldier present, it was he who ordered the surrender.
Jessica Lynch born April 26, 1983, in Palestine, West Virginia suffered a head laceration, an injury to her spine, and fractures to her right arm, both legs, and her right foot and ankle. She was knocked unconscious after her Humvee crashed. In the book, I Am a Soldier, Too: The Jessica Lynch Story by Rick Bragg, the author alleges that Lynch was sodomized during her captivity. This was based on the medical records and her pattern of injuries. She would become a media sensation after her April 1, 2003 rescue and one of the main events of the Iraqi invasion.
When they surrendered, they feared the worse. Private First Class Patrick Miller held out little hope for mercy. “I thought they were going to kill me,” he said. “That was the first thing I asked when they captured me: ‘Are you going to kill me?’ They said no. . . . I still didn’t believe them.”
Best Friend, Lori Ann Piestewa
Are you going to kill me?
-Private First Class Patrick Miller
While the other members of her unit were taken into Iraqi custody two heavily injured American POWs, Jessica Lynch and her best friend in the army, Lori Ann Piestewa was taken first to a Military Field Hospital, a few hundred meters from the ambush site at 8 am, about an hour after the attack. A few hours later, she was brought to the al-Nasiriyah general hospital. Footage later emerged of the two receiving medical aid. When the footage was shot, Lori Ann Piestewa was still alive and when the Iraqi TV adjusted her body for the camera’s she appeared to grimace in pain although the footage didn’t seem to show was aware of what was going on. The footage was never aired in Iraq and only surfaced months later when an employee of the state-run Iraqi TV handed over a copy to American forces. While doctors were able to save Jessica Lynch, Lori Ann Piestewa died from severe head injuries.
Al-Nasiriyah General Hospital
no bullet … no stab wound, no other thing, merely … road traffic accident
-Jessica’s Doctor
When the American military rescued Lynch they reported that she had received several bullets and stab wounds from “valiantly” fighting the Iraqis until she ran out of ammunition. She herself claims that she never fired a shot as her gun jammed when the first bullet was fired, “I did not shoot – not a round, nothing. I went down praying to my knees – that’s the last thing I remember.” Also, Dr Harith Al-Houssona, 24, the doctor who first treated her at the hospital remembers her injuries, “I examine her, I see she has a broken arm… and broken thigh, with a dislocated ankle. Then we do another examination. There is no shooting, no bullet inside her body… no stab wound, no other thing, merely RTA. Only road traffic accident … She was very frightened when she woke up,… She kept saying: ‘Please don’t hurt me, don’t touch me.’ I told her that she was safe, she was in a hospital and that I was a doctor, and I never hurt a patient.” After gaining her trust Jessica had a number of conversations with the doctor discussing her boyfriend back home and fighting with her family. Dr Harith even went outside the hospital to get her some orange juice as she wouldn’t eat anything, “I told her she needed to eat to recover, and I brought her crackers, but her stomach was upset. She said as a joke: ‘I want to be slim.’ ”
In the time between her capture and being taken to the hospital, reports from American doctors who examined her after her rescue claimed that she had been raped. Mahdi Khafazji, an orthopedic surgeon at the Nasiriyah hospital disputed these claims. He was the doctor who performed surgery on Lynch to repair a fractured femur. He claims he found no sign of rape and protected Jessica when she arrived at the hospital, “She was injured at about 7 in the morning,” he said. “What kind of animal would do it to a person suffering from multiple injuries?”
As her condition stabilized Jessica’s military captors ordered staff to transfer her to another hospital but on March 30, 2003, Dr. Harith instead told the ambulance driver to take her to the advancing American forces but when the ambulance driver approached American forces they were fired upon forcing him to return Jessica to the hospital. Dr. Harith was then able to hide her in the hospital and when retreating Iraqi forces abandoned their positions and fell back to Baghdad without taking her thinking that she wasn’t at the hospital. By this time Iraqi informants had told American forces that an American POW was being held at the hospital.
[midgoogle]
Mohammed Odeh al Rehaief
The US military has claimed that several Iraqi informants were able to get in touch with American forces but the one that got the most media attention was Mohammed Odeh al Rehaief. According to Mohammed, he was visiting his wife who was a nurse in the hospital in an effort to get her to leave with him to a safer area while the fighting was going on:
I went to see my wife [and] What caught my attention was that there were some bodyguards at a door, and there was a rumor going around Nasariya that one of the Baath party leaders was in the hospital. But when passed nearby [Lynch’s room,] I heard the door slam hard. And the guards in front of the door were talking very loudly. That is not a common thing to do when there is a big leader in the room—doors close nicely, you talk quietly. There were no flowers, no gifts, and it didn’t like anybody was paying attention to that room. When there is a VIP, lots of doctors and nurses are around. I went in, I saw Jessica and three people—one was a fedayeen
[militia] officer, one a translator and a third one was writing. I saw the fedayeen officer slapping her face. She was answering to the translator instead of to him, that’s when he hit her … Because there was a young lady facing death. It was my duty to humanity to help her. The Americans came there to help us, and I looked at her like she was a savior for us. We were living under a very cruel dictatorship for 35 years. — Mohammed Odeh al Rehaief
Mohammed went on to say that he returned twice to American forces to give them information on the layout of the hospital and Jessica’s location. It was during one of these crossings between fighting Iraqi and American forces that his car was hit by shrapnel and Mohammed was hit in the face losing vision in his left eye.
After the successful rescue of Jessica on April 10 Mohammed his wife and then five-year-old daughter were taken to America from a refugee camp in Iraq. They were granted, “humanitarian parole, a status typically awarded for urgent humanitarian cases, such as foreigners needing urgent medical care.” Mohammed and his family were given this type of special treatment because the American’s could not guarantee his safety in Iraq.
After the end of combat operations, many other accounts of what happened began to cast doubt on Mohammed’s story with even his wife describing him as overly influenced by John Wayne movies. He still lives in the Washington D.C. area of the United States and as of 2006 works for The Livingston Group, a Washington, D.C., lobbying firm run by former U.S. Rep. Bob Livingston.
US Special forces tasked with her rescue carrying Lynch out of the Saddam Hospital or Al-Nasiriyah general Hospital in Nasiriyah, Iraq on the night of April 01, 2003
On April 1, 2003, with information from Mohammed and other informants the military made their move to rescue Jessica. Earlier in the day Marines staged a diversionary attack against Iraqi forces in an effort to draw soldiers away from the hospital. While the Marines forces attacked a joint assault unit of Navy Seal’s and Army Rangers landed with BlackHawk helicopters and secured the hospital and took Jessica out. The military created a video and the footage shows a terrified Jessica in the hospital with what appears to be patients herded into one room.
It was the first time in decades that a military operation to rescue POWs behind enemy lines had been pulled off and Special Forces officials justified videotaping the operation for the historical value, and also for future educational purposes. When reports emerged that blanks were used during the raid Special forces personal bristled and went on to say that, “no shots — blanks or otherwise — were fired by the Navy SEAL-led team inside Saddam Hospital in Nasiriyah, south of Baghdad.” In fact, officials said there was no resistance by any of the Iraqi’s present in the hospital but that treating those present as potential threats is part of their operating procedure.
Another part of the operation that is not often reported was that while Jessica was being brought down from hospital a team of soldiers was digging up the nine members of Jessica’s unit that had been killed, some of which had been killed with a shot to the forehead.
Jessica Returns
They used me as a way to symbolize all this stuff. It’s wrong
-Jessica Lynch
Jessica returned to America with a hero’s welcome in her hometown, Palestine, West Virginia and her family and fiancé, Sgt. Ruben Contreras, who was also in the army. By the time she came back to America, Jessica Lynch was a media star. Offers for book deals poured in and eventually she signed a one for over a million dollars which went on to become a best seller and later became a movie, Saving Jessica Lynch.
On August 27, 2003, Lynch was given a medical honorable discharge and after months of physical therapy, Lynch began to feel confident about her ordeal and the Pentagon’s spin of the events surrounding her capture. While doing an interview with Diane Sawyer she again denied that she went down fighting and while expressing gratitude for her rescue said the way the Pentagon portrayed the rescue bothered her, “Yes, it does. They used me as a way to symbolize all this stuff. It’s wrong.”
After returning home her relationship cooled with finance Sgt. Contreras. First, there was a postponement in 2004 and by 2006 the two were just good friends. In August 2005 Lynch started attending West Virginia University in Morgantown, West Virginia. In 2006 she announced that she and boyfriend Wes Robinson are expecting a girl which was born in January. The 7 pounds, 10 ounces was given a name inspired by her best friend in the army Lori Piestewa who died when they were attacked, Dakota Ann Robinson. Ann was Lori Piestewa’s middle name and Dakota means friendship or ally.
In March 22, 2018, Inside Edition reported that Lynch was hired as a 5th-grade teacher in West Virginia.
Soweto uprising
John West Salmon Bear Fight
Raising the Flag at the WTC
Oswald Backyard Shots
Iraqi Soldier
JFK jr salutes JFK
And babies
D-day soldier in the water
Numa Numa
Sophia Loren Meets Jayne Mansfield
Saddam Hussein Captured
Fall of Saddam Hussein’s Statue
Iraqi Mobile Production Facilities
This entry was posted in 2003, Am, Articles with YouTube Videos, In the Public Domain, Iraq, Pictures of War, Portrait and tagged 2003, Iraqi War, Iraqi Wars by Dean Lucas. Bookmark the permalink.
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David Whelton OBE, Hon FRAM, Hon RCM
Former Managing Director, Philharmonia Orchestra
David Whelton was born in 1954 and trained as a pianist and organist. Following an early career in education, he joined the Yorkshire Arts Association and subsequently Leeds City Council prior to moving to the music department at the Arts Council of Great Britain. In 1988 he was appointed managing director of the Philharmonia Orchestra.
During David’s tenure at the Philharmonia, the orchestra became an indispensable part of British and international musical life. It has established new relationships with many of the great conductors who shaped its musical history and has initiated and developed the concept of orchestral residencies. It is recognised today as a pioneer and leader in this work within the UK.
Davidwas a member of the jury of the 2001 Besançon conductors competition and is currently a director of IMS Prussia Cove and a member of the Philharmonia Trust.
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We are aware that some #EndSARS protesters have reported facing intimidation - UK Minister, Wendy Morton
Wendy Morton, a British Conservative Party politician who has served as Member of Parliament (MP) for Aldridge-Brownhills since 2015 and currently serves as Parliamentary Under-Secretary of State for European Neighbourhood and the Americas, has disclosed that they have received report of #EndSARS protesters being intimidated.
Morton who described this as worrying, also disclosed that the UK government is communicating with the President’s Chief of Staff, Prof. Ibrahim Gambari, and Lagos State Governor, Babajide Sanwo-Olu.
The lawmaker noted that the British High Commissioner in Abuja has continued to raise their concern about intimidation of civil society groups and peaceful protesters, with the Nigerian government.
She said;
“It is a long-standing practice not to speculate on future sanctions as it could reduce the impact of the designations.
“We are aware that some protesters have reported facing intimidation and the British High Commissioner in Abuja continues to raise our concerns about intimidation of civil society groups and peaceful protesters with the Nigerian government.”
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The New BSVTA
Posted on 11th January 2021 by Charlotte Armstrong
British Safe and Vault Trade Association (formerly Eurosafe UK) was established in February 2011 as the UK associate of its parent organisation, Eurosafe in mainland Europe.
Over the last 18 months we have undertaken a series of updates to better reflect and represent our sector as it stands today, with a total rebrand.
British Safe and Vault Trade Association (BSVTA) is an association open to UK safe manufacturers and companies engaged, as a major part of their business, in the sale of safes, fire safes, security cabinets and vaults and vault doors. Lock manufacturers engaged in the business of safe lock sales, those in the UK Insurance industry, and organisations involved in standards testing are also admitted to membership or associate membership.
Alan Bullock, chair of BSVTA says, “BSVTA is developing as a well-respected organisation with strong ties to the MLA, AIS, LPCB, and other testing certification houses. The management committee meets regularly to discuss issues affecting the industry and strives to look at new developments and challenges, including certification and testing, reconditioned safes, and insurance ratings.”
New Name • New Logo • New Challenges
Having realised that the UK required a more focused approach to challenges in the market and to promote a more vigorous defence of our manufacturing base and promotion of standards, we decided to change the name from Eurosafe UK to BSVTA at the end of last year. We also feel that this new name better represents the diversity of the UK safe industry, which is served not only by direct manufacturers, but by companies who offer safes from many sources to offer customers a wide choice. The new logo reflects what we see as an historical strong base for safe manufacture and commitment to standards: professionalism, integrity and security.
www.bsvta.co.uk has now also launched and is packed full of vital industry information. There is now a dedicated password protected membership zone, detailed members list, our aims and objectives, the BSVTA code of practice, and full profiles on our officers. In the news and articles sections visitors will be kept up to date with the latest industry and BSVTA developments, as well as more in-depth features.
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The bi-monthly magazine is posted free of charge to over 8,500 locksmiths across the UK. To take a look at the latest magazine online, please register for a free account; if you're already registered sign in to view the magazine.
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Author’s new Sci-Fi book “The Renascent World” receives a warm literary welcome
Readers’ Favorite announces the review of the Young Adult – Sci-Fi book “The Renascent World” by Carryn W. Kerr, currently available at http://www.amazon.com/gp/product/1839439025.
Readers’ Favorite is one of the largest book review and award contest sites on the Internet. They have earned the respect of renowned publishers like Random House, Simon & Schuster, and Harper Collins, and have received the “Best Websites for Authors” and “Honoring Excellence” awards from the Association of Independent Authors. They are also fully accredited by the BBB (A+ rating), which is a rarity among Book Review and Book Award Contest companies.
Reviewed By K.C. Finn for Readers’ Favorite
“The Renascent World is a work of fiction in the science fiction, romance, and adventure sub-genres, and was penned by author Carryn W. Kerr. The work is aimed at both young adult and adult readers to enjoy and it is largely accessible, though it does contain moderate references to murder and scenes of violence. In this thrilling opening to a new series, we find ourselves following the life and exploits of Cassidy Jones, who has lived beyond the destruction of Earth and escaped to what seems to be a blissful utopia. But when she is presented with the mate she is expected to welcome into her arms, Cassidy finds herself longing for another. And he is still on Earth.
“Author Carryn W. Kerr has crafted a moving YA sci-fi romance that will certainly tick all the right boxes for readers seeking powerful first love and high-risk action and adventure. One of the things which most impressed me about the work was the conceptual framework and Petriville itself as a town that has quite literally placed itself above it all. Cassidy is a great heroine with real vulnerabilities, showcased by the author’s talent for close narration, and her passions take her to many risky decisions, but this is also very relatable to the intended reading audience. As such, there’s plenty of high drama, suspense, and thrills that will keep the reader turning from page to page. Overall, I would definitely recommend The Renascent World for fans of dystopia and romance that really packs an emotional punch.”
You can learn more about Carryn W. Kerr and “The Renascent World” at https://readersfavorite.com/book-review/the-renascent-world where you can read reviews and the author’s biography, as well as connect with the author directly or through their website and social media pages.
Company Name: Readers’ Favorite LLC
Phone: 800-RF-REVIEW
State: KY 40202
Website: https://readersfavorite.com
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Home > Big Story > Dirty war has to be fought with innovative ways: Gen Bipin Rawat
Dirty war has to be fought with innovative ways: Gen Bipin Rawat
Agencies28 May 2017 2:38 PM GMT
The Indian Army is facing a "dirty war" in Jammu and Kashmir which has to be fought through "innovative" ways, Army Chief Gen Bipin Rawat has said, stoutly defending the use of a Kashmiri as a 'human shield' by a young officer.
Rawat said that the main objective of awarding Major Leetul Gogoi, when a Court of Inquiry was finalising its probe into the incident, was to boost the morale of young officers of the force who are operating in a very difficult environment in the militancy- infested state.
"This is a proxy war and proxy war is a dirty war. It is played in a dirty way. The rules of engagements are there when the adversary comes face-to-face and fights with you. It is a dirty war... That is where innovation comes in. You fight a dirty war with innovations," Rawat said, in what were the General's most comprehensive comments yet to the media on the issue.
The Army Chief's Commendation medal to Gogoi, who had tied a man to an army jeep and used him as a human shield from stone throwers last month was criticised by human rights activists, Kashmiri groups and by a few retired army generals.
"People are throwing stones at us, people are throwing petrol bombs at us. If my men ask me what do we do, should I say, just wait and die? I will come with a nice coffin with a national flag and I will send your bodies home with honour. Is it what I am supposed to tell them as chief? I have to maintain the morale of my troops who are operating there," Gen Rawat said.
Army Chief Rawat, who had served in Jammu and Kashmir extensively, said if people in any country lose fear of the army, then the country is doomed.
"Adversaries must be afraid of you and at the same time your people must be afraid of you. We are a friendly army, but when we are called to restore law and order, people have to be afraid of us," he said.
General Rawat said that as the Army chief, it was his duty to lift the morale of the army personnel in Jammu and Kashmir and he did it by awarding Major Gogoi.
"As Army Chief my concern is morale of the Army. That is my job. I am far away from the battle field. I cannot influence the situation there. I can only tell the boys that I am with you. I always tell my people, things will go wrong, but if things have gone wrong and you did not have malafide intent, I am there," he said.
General Rawat said there was a ploy to break the trust between various security forces, and Major Gogoi could not have refused to provide security when polling agents had sought security assistance.
"Tomorrow elections have to be held in Anantnag and similar things may happen. If the army does not respond to call for assistance, then the trust between the people whom we are protecting, police and army will break.
"That is something I cannot allow to happen. This is what the militants want. It can create a divide between the army and other security forces," he said.
The Army Chief said he had a broad idea about what was going on in the Court of Inquiry into the Gogoi incident, and that is why he went ahead with awarding the Major. "I know what is happening in the COI. It is being finalised. What do we punish him for."
He said armed forces have the right of self defence and Major Gogoi could have opted for firing at the crowd but he chose not to resort to it.
He says he still suffers from physical and mental trauma after being paraded on the jeep's bonnet with a sign slung around his neck, warning stone pelters of the consequences.
"It will have to be a composite solution. Everybody will have to get involved. Army's role is to ensure that violence does not take place and the common man who is not indulging in this (violence) is protected," he said, when asked about the solution to the Kashmir issue.
He also emphasised on the need for taking harsh measures to stop infiltration and counter-terrorism.
The Army Chief also wondered why not much noise was made when young army officer Lt Umar Fayaz was killed by militants when he was on leave.
"Has political initiative not been taken in the past? What was the result, you had Kargil...," he said.
To a separate question, the Army Chief said he does not anticipate a "limited war" with Pakistan.
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Home > Entertainment > Camila Cabello announces debut solo album
Camila Cabello announces debut solo album
PTI16 May 2017 3:30 PM GMT
Former member of 'Fifth Harmony' Camila Cabello has announced her much-anticipated debut solo album. The singer took to social media to announce the album titled 'The Hurting, The Healing, The Loving' and her debut solo single 'I Have Questions'.
"The story behind the album starts with the second song that you'll hear called 'I have questions' which I started in a hotel bathroom on tour a little over a year ago. I was completely broken during that time, I was in the kind of pain that's uncomfortable to talk about, and it was the kind of chapter you never want to read out loud. "I couldn't write another song for 6 months because writing meant I had to feel everything, and I wasn't ready to do that yet," Cabello, 20, wrote.
Cabello, who announced her departure from 'Fifth Harmony' in December, called the album "the story of my journey from darkness into light, from a time when I was lost to a time when I found myself again." 'I Have Questions' will release on May 19.
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Home > Business > Inflation at 16-month-high 5.7%, factory output dips for 2nd month
Inflation at 16-month-high 5.7%, factory output dips for 2nd month
PTI13 Feb 2016 12:47 AM GMT
Rising for the the sixth straight month, retail inflation touched a 16-month high of 5.69 per cent in January, mainly due to costlier food prices. Retail inflation, as measured by the Consumer Price Index (CPI), stood at 5.61 per cent in December 2015 and 5.69 per cent in January 2015. The pace of retail price rise in January 2016 is the highest since 6.46 per cent in September 2014. Food inflation, as measured by Consumer Food Price Index (CFPI), quickened to 6.85 per cent in the first month of 2016, Government data showed on Friday. Retail prices of ‘cereals and products’ inched up by 2.19 per cent in January, from 2.12 per cent in December 2015.
The rate of price rise in meat and fish category was 8.23 per cent during the month, while it was 3.96 per cent for eggs. The substantial price rise in these items is mainly attributed to their higher consumption during winter. However, prices of seasonal fruits witnessed deflation during the month, with a fall of (-)0.24 per cent. But vegetable prices moved up fairly at 6.39 per cent. Prices of ‘pulses and its products’ continued to stay elevated, as inflation was as high as 42.32 per cent, according to the data released by the Central Statistics Office under the Ministry of Statistics and Programme Implementation.
The inflation rates, based on CPI for rural areas, stood at 6.48 per cent in January, while that for urban areas was 4.81 per cent. The price data are collected by the government from selected towns by the Field Operations Division of National Sample Survey Organisation (NSSO) and from selected villages by the Department of Posts.
Industrial production declined for the second month in a row, registering negative growth of 1.3 per cent in December, mainly due to drop in manufacturing and capital goods sector. Factory output measured in terms of Index of Industrial Production (IIP) also declined by 3.4 per cent in November, according to data released by Central Statistics Office (CSO).
The index had registered a growth of 3.6 per cent in December 2014, it said. During April-December period this fiscal, the industrial output grew by 3.1 per cent compared to 2.6 per cent a year ago.
The decline in December has been primarily on account of a massive drop in output of capital goods which showed a contraction of 19.7 per cent in December compared to growth of 6.1 per cent in the same month a year ago. The manufacturing sector, which accounts for over 75 per cent of the index, declined by 2.4 per cent against a growth of 4.1 per cent in December 2014.
However, the mining sector showed an improvement, registering a growth of 2.9 per cent in the month as against a contraction of 1.7 per cent in same month a year ago. Power generation showed deceleration, recording a growth of 3.2 per cent as against 4.8 per cent growth in same month a year ago.
As per the used based classification, basic goods reported a marginal increase of 0.5 per cent as against 5.9 per cent in December 2014. The consumer goods output increased to 2.8 per cent as against 0.6 per cent in December last fiscal.
Consumer durables, however, showed robust growth of 16.5 per cent in December as against a contraction of 9.2 per cent during the same month last fiscal. However, the consumer non-durable segment showed a contraction of 3.2 per cent in December.
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Home > Kolkata > Two killed, 30 injured in separate road accidents
Two killed, 30 injured in separate road accidents
Team MP26 April 2018 5:41 PM GMT
Kolkata: Two persons including a businessman were injured in two separate road accidents in South Bengal while 30 others travelling in a bus were injured after their vehicle overturned in North Bengal.
The first incident took place near Asansol bazaar area when a local businessman was trying to cross road. He was hit by a speeding vehicle resulting in serious injuries to his body.
The victim has been identified as Sadananda Sadhu. He was a resident of Aldi village in Kulti area.
According to police, he was going to a nearby market at around 7 am when the accident occurred. Locals rescued the victim and took him to a nearby hospital where the doctors pronounced him brought dead.
After being informed police rushed to the spot and started a probe. Locals told the police that a speeding vehicle knocked him down and fled the spot. Police are conducting raids to nab the driver. The body of the victim was sent for an autopsy.
In the other incident, a truck driver died in South 24-Parganas' Usti. The identity of the victim is yet to be ascertained. According to police, a loaded truck overturned and fell into a ditch near Shirakal area. The locals took part in the rescue operation and managed to save the conductor. The body of the driver was later recovered by the police. According to the preliminary investigation, police suspect that the driver might have fallen asleep when the accident happened.
In another incident, around 30 persons who were travelling in a bus received injuries after the vehicle overturned in Moynaguri area of Jalpaiguri on Thursday afternoon. The incident took place on National Highway 31. Police said the driver of the bus lost control over the vehicle while trying to save a Toto.
It was learnt that a wheel of the bus skidded when it ran over a heap of the sand on the side of the road. The injured were taken to a nearby hospital for treatment.
Team MP
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Music reviews, news and more | www.mountainkingmusic.com
Review: Three Thirteen, "Full Tilt"
I so rarely get a physical product these days with review copies that I think I get way too excited when I get a nice one in the mail. The trappings of Three Thirteen’s Full Tilt aren’t all that elaborate – it’s a folding slipcase, designed a bit like an old LP cover, with a three-page insert. But it’s still pretty damned cool.
The band is a throwback to the classic 1970s and ‘80s days of hard rock and metal, and the packaging celebrates that era.
Song titles on the back are printed in band logo fonts, including Iron Maiden, Kiss, AC/DC, Metallica and others. There’s even one in the Star Wars font. The folding insert conjures up all kinds of memories from my youth with plenty of ‘70s and ‘80s style images, and the album credits are printed out on the sides of cassette tapes. There’s even a sticker included. But the coolest part of the packaging to me is the disc itself. It’s a black-bottomed disc, painted on the top to look like vinyl. It’s not just any vinyl, though. The label is designed to look a bit like one of Kiss’ Casablanca Records releases.
Maybe I’m taking the packaging a little too serious, and maybe I’m just delirious because it’s been years since I got a review copy with packaging that really spoke to me. But this record had me from the time I opened the cover. If they had put the disc in a little paper sleeve like an LP, I might not have even needed to hear the music.
OK. OK. I’ll calm down now. It’s sad, I know, but I can’t help it. (Any label types out there reading this, you now know how to instantly pique my interest in a release).
On to the music, and as it turns out the packaging is a perfect fit. Three Thirteen doesn’t try to break any new ground on Full Tilt, but they accomplish exactly what they set out to do – have fun and tip the hat to some of their favorite bands. You won’t find any weighty topics in their songs, but neither will you find any sappy ballads about lost love. They put the pedal to the metal and party like it’s 1980 from start to end.
The songs are divided into two sides. To me, the first side has more of a 1980s rock feel, but with a little bit more edge. “Blaster” and “One for the Road” are both great highway songs with big choruses. The title track, while being the most lyrically challenged of the songs, is undeniably catchy, and one of the higher energy tracks on the record. The early video game sounds in the background at beginning and end add to the 1980s vibe. “Skool Daze” opens with about the only slow moment on the record, a clean guitar lick that quickly gives way to a bouncing glam rocker that reminds me a little of Love/Hate.
“Side Two” of the record, to me, has more of a late 1970s flavor to it. “The Dark of Yesterday” is a poppy number that reminds me a bit of Cheap Trick, or maybe the Foo Fighters for a more modern reference. “Watch It Go” has kind of a Thin Lizzy feel with some nice guitar work from Randy Weitzel. “Living in Stereo” opens with a funky wah-wah guitar lick that’s one of the best moments on the record. It’s got a great groove and offers a lyrical tribute to influences like Randy Rhoads, AC/DC, Metallica, Ozzy, Judas Priest and others. I’m not normally wild about songs that just drop names, but this one is incredibly fun.
The record closes with the most aggressive track, “Death’s Head,” with some Steve Harris-style galloping bass, a few thrash riffs and a little bit of industrial sound, too. It’s the heaviest number and lets Weitzel work out his Kirk Hammett worship on the solo. It’s good, but it also lacks some of the fun of the earlier party tunes.
The members of this three-piece outfit know what they’re doing and they do it well. They’re well-versed in the classic hard rock style, and Full Tilt is an absolute blast for folks like me who grew up in that era.
If you’re looking to hop into your Trans-Am, pull out the t-tops and crank some tunes as you blast down the highway, this is the record. You may even wish it were available in 8-track.
Posted by Fred Phillips at 4:13 PM
Labels: AC/DC, Best of 2011 Candidates, Glam rock, Hard rock, Iron Maiden, Kiss, Metallica, Reviews, Three Thirteen
Archon Angel - Fallen
Fred Phillips
I am a veteran entertainment writer with a love of hard rock and heavy metal. I've written music reviews, columns and feature stories for several newspapers, Web sites and a national wire service. I've run Hall of the Mountain King in various places and incarnations since 1997.
If you're in a band or represent a band or label and would like to have your music featured here, check out my submission guidelines for details.
Follow this blog on Twitter at http://twitter.com/mtnkingmusic. Follow the author @FredWPhillips.
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Home » History » Papcastle History Book » Foreword
Eric Apperley
First Published in Great Britain in 2009
by Little Bird Publications
High Moor House, Hill Street,
Cumbria CA13 OAU
Copyright © 2009 by Eric Apperley
The right of Eric Apperley to be
identified as the author of this work
has been asserted by him in
accordance with Section 77 of the
Copyright, Designs and Patents Act 2000.
All right reserved to Papcastle Local History Group
Printed in Great Britain by PrintExpress
Sneckyeat Road, Hensingham, Whitehaven, Cumbria
In spring 2007, Jack Sedgwick, a veterinary surgeon, who had spent his life since the late 1920’s in the village, gave a talk in the village hall. He presented an interesting insight into his early days and identified just five others who had lived all their lives in the village, from about the same time.
This talk stimulated discussion into the fact that the history of the village had never been recorded. So from it a Papcastle Local History Group was formed with the intention of recovering as much as possible and with the expectation of publishing at least a small volume.
By the autumn of 2008, it was clear that a major decision was needed – whether to publish what had been discovered so far or to hold off for some distant date when many more months, or possibly years of painstaking research might have been done. That would require regular trips to the Records Offices and not inconsiderable expense.
This book is therefore a first edition, and one day may be superseded by a superior fresh and much extended edition. Notes of the sources which might repay further work are given in Appendix 1. Whilst attempting to record the past, it was recognised that in years to come, what is happening today becomes the past as well. So we have included a significant amount of detail about the contemporary scene.
The members of the group who have been active in producing material are Phil Balgue, Jim Dryden, Susan Fleming, Greg Greenhalgh, Andrea Haley, Polli Martin, Jenni Rushton and Elspeth White. Others in the village have been supportive in supplying miscellaneous information, in particular Robert Jackson, David Bromley and Mike Apperley. Much of the text has been written and the overall design done by me and any errors or omissions are therefore my responsibility.
Our thanks go to many villagers who have loaned their house deeds or provided other fascinating pieces of information.
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Sean Connery at 80: My acting days are over
By msnukmovies ⋅ August 26, 2010 ⋅ Post a comment
Article Source: MSN Movies Blog UK
Following his 80th birthday, the mighty screen presence of Sean Connery has gracefully stepped aside, leaving us with a few interesting reflections.
Hollywood legend Sir Sean Connery says that at 80, his movie-making days are behind him.
"I don’t think I’ll ever act again. I have so many wonderful memories but those days are over,” he said.
Reflecting on a career that has spanned half a century, he revealed that from Russia with Love was his favourite Bond film.
"The story was intriguing and the locations were intriguing. It was an international movie in every sense of the word," Connery explained to the Daily Record.
As for the film he most enjoyed? "Indiana Jones And The Last Crusade. I was working with Steven Spielberg and George Lucas. The teamwork was special. It was a great adventure and Harrison Ford and Denholm Elliot were wonderful actors. I had so much fun."
No comments for “Sean Connery at 80: My acting days are over”
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info@ecpbs.org
Goals and Aims
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His Beatitude the Patriarch Nicolas was born in France on 30th of March; 1952.He entered upon the monastic life in 1982 and was ordained to the diaconate in 1983 and to the priesthood on 9th April, 1985, at the monastery of St. Michel du Var. His studies in theology were undertaken at the Institute of St. Sergius in Paris. Consecrated to the episcopate on 1st September 2001 as Bishop of Paris responsible for missions, he entered the Ukrainian Church in Exile, in the United States, and in 2003 he was raised to the rank of archbishop. In 2005 he ministered as the senior consecrator for the solemn consecration of the Patriarch Moses in the Cathedral of St. Sophia of Kiev. Together with all Western bishops, he left the Patriarchate of Kiev in 2006 to enter into relationship with the American Orthodox Catholic Church of the United States. Obtaining autocephalous status, he became archbishop primate of the synod in 2007. On 9th October 2011 he was elected and consecrated patriarch by the twenty-one bishops of the synod. The church now adopted the name Autocephalous Orthodox Church of Europe. Many other bishops had by this time joined the church, and at the General Synod of 2014 in Italy the church, present now on five continents, took the name of Orthodox Patriarchate of Nations, thus signifying its catholicity and affirming its worldwide presence. The Orthodox Patriarchate of Nations has, at present, more than one hundred bishops representing it throughout the world.
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Mr. Da’boub is from the Holy City of Bethlehem; He has an MBA with an experience of more than 35 years in pilgrimage, administration and many business fields. He worked as a lecturer at the Latin Seminary beside many administrative positions in local and international associations. Early in his career he established an accounting office in Bethlehem that is a specialist in accounting, taxation, auditing and financial studies. In 2014 he was appointed the Dean of the Catholic Action in Bethlehem for a period of two years; Mr. Da’boub is the Director-General of the Ecumenical Centre and is The Honorable Chevalier, K.C.S.P.H., his chivalric status deriving by legitimate succession from His Beatitude Ignatius IV, Greek Orthodox Patriarch of Antioch and All The East.
Mike G. Salman
Mr. Salman is from Bethlehem and has a BA degree in Business Administration from Bethlehem. He was the General Manager of Sun Rise Contracting Co .and is widely experienced in many business fields. In 2011 Mr. Salman was elected Vice president of the Community Development Institute. Mr. Salman has been a member of the Board and Treasurer of Palestine Ahliyeh University in Bethlehem since 2006. He is a member of the Franciscan Secular Order and is an active parishioner at St. Catherine Catholic Church in Bethlehem.
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programS manager
Ms. Da’boub is from Bethlehem. She has a BA degree in Business Administration and a Master degree in International Cooperation and Development from Bethlehem University. Natalie is experienced in writing proposals and translation, she wrote her master thesis about “Enhancing tourism sector in Bethlehem” and she keeps following up the tourism development issue; at the same time she has AITA certificate. Natalie is an active member of St. Catherine Church in Bethlehem and speaks English and Italian. Natalie is the Programs Manager for our association and is responsible for the reservations and correspondence.
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Arabic | Login
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It is my honor and pleasure to express my heartfelt thanks to the Board of Trustees of The Islamic University of Gaza, presented by President, Dr. Nasr al-Din Sadiq Al-Muzaini, for their trust in my mandate as head of the IUG, Which is entering its 40th year since its establishment in 1978.
I take this opportunity to express my great appreciation to the Islamic university along with its faculty members, administrators and various services that are being provided to preserve the university's progress. With their help, IUG has reached high levels of prestige among Arab and international universities. I am proud of the students of the IUG, the backbone of this academic institution, who have shown and proved from time to time their competence and distinction among a long list of other academic competitors.
The university provides an array of various activities that greatly benefit the Palestinian people and their country. The most important aspects of these activities include academic, scientific research and community services aspects. On the academic side, the university is proud to offer about one hundred and twenty Bachelor degree programs, forty-eight Master's degree programs and four PHD programs.
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Durban (Zulu: eThekwini, from itheku meaning 'bay') is the largest city in the South African province of KwaZulu-Natal and the third largest city in South Africa. Durban is famous for being the busiest port in South Africa. It is also seen as one of the major centres of tourism because of the city's warm subtropical climate and extensive beaches. The municipality, which includes neighbouring towns, has a population of almost 4.5 million,[1] making the combined municipality the biggest city on the east coast of the African continent.
Durban is ethnically diverse, with a cultural richness of mixed beliefs and traditions. Zulus form the largest single ethnic group. It has a large number of people of Indian descent and has been called "the largest 'Indian' city outside India"
Archaeological evidence from the Drakensberg mountains suggests that the Durban area has been inhabited by communities of hunter-gatherers since 100,000 BC. These people lived throughout the area of present day KwaZulu-Natal until the expansion of Bantu farmers and pastoralists from the north saw their gradual displacement, incorporation or extermination.
Little is known of the history of the first residents, as there is no written history of the area until it was sighted by Portuguese explorer Vasco da Gama, who sailed parallel to the KwaZulu-Natal coast at Christmastide in 1497 while searching for a route from Europe to India. He named the area "Natal", or Christmas in Portuguese
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澳门银河网站试玩&点此进入
4.29 | 2954 ratings | 245 reviews | 58% 5 stars
Essential: a masterpiece of
progressive rock music
Buy DREAM THEATER Music
Studio Album, released in 1992
1. Pull Me Under (8:14)
2. Another Day (4:23)
3. Take the Time (8:21)
4. Surrounded (5:30)
5. Metropolis - Pt. I "The Miracle and the Sleeper" (9:32)
6. Under a Glass Moon (7:03)
7. Wait for Sleep (2:31)
8. Learning to Live (11:30)
- James LaBrie / lead & backing vocals
- John Petruci / guitars
- Kevin Moore / keyboards
- John Myung / bass
- Mike Portnoy / drums, percussion
- Jay Beckenstein / soprano sax (2)
ArtWork: Larry Freemantle with Dan Muro (photo) and Dream Theater (concept)
CD ATCO - 7567-92148-2 (1992, Europe)
2xLP ATCO Records - ETR1-92148 (2013, Europe) Remastered for vinyl by Dave Marino
Trivia: Gold certificated by RIAA (February 2, 1995) and Platinum certificated by the RIAJ.
Thanks to ProgLucky for the addition
and to projeKct for the last updates
Buy DREAM THEATER Images and Words Music
More places to buy DREAM THEATER music online
DREAM THEATER Images and Words ratings distribution
DREAM THEATER Images and Words reviews
Review by lucas
SPECIAL COLLABORATOR Honorary Collaborator
DT's best album. Labrie's singing is truly impressive. A very dynamic album. The sound is very close to Queensryche's one, but the music is more ambitious. Nice saxophone section by Spyro Gyra's main man on 'Another day'. 'Learning to live' is a very good epic. A milestone in prog metal!!
Posted Saturday, November 1, 2003 | Review this album | Report (Review #11168)
Review by Marc Baum
The beginning of modern progressive metal lies in "Images & Words". Although Queensryche, Fates Warning, and good ol' Crimson Glory were the first to "take hold of the flame" and marry Black Sabbath with Rush, Dream Theater took it to the next level with this release. Really, it'd be fair to say that all modern prog metal takes it's cues from Images & Words, Cynic's Focus, or Savatage's Streets: A Rock Opera, with the majority going the way of the flying-digits and warm melodies.
For Dream Theater (DT) truly are the masters of their craft, that craft being the realm of heavy metal. DT are, to me, undoubtedly the most talented coalition of metal musicians on Earth. The technicality of their brand of progressive metal, combined with the complexity of their songs and James LaBrie’s uncanny voice make for a contribution to heavy metal that America can truly be proud of.
Although they’ve made a few keyboardist changes over the year, the remaining four members of the band have consistenly performed excellent, enthralling audiences with their truly masterful approach towards metal, all beginning with this album, Images and Words.
Although Images is DT’s second album, it was the first time when you could really feel the emotion and true capabilities of this band. The songs are much longer and more complex from their previous offering, churning out many of the DT classics we all know and love today. The replacement of Charles Dominici, the singer from their first album When Dream And Day Unite, proved to be one of the best decisions DT has ever made. Age-wise he hasn't fit to the band well, since he was about ten years older than his young band colleagues. I've liked his voice though, specially his amazing performance in "The Killing Hand". James LaBrie made his debut on this album, and the emotion and skill he puts into the songs on this album is a key factor what truly catapulted this album and DT in general to greatness.
Of course, the amazing capabilities of guitarist John Petrucci, drummer Mike Portnoy, bassist John Myung and keyboardist (at the time) Kevin Moore are nothing to scoff at. Musically, these guys are unparalleled by metal or by artists in any other musical genres. Dream Theater albums, as far as skill and complexity are concerned, are often head and shoulders above the rest. That’s why pretty much any album to come from these guys will become an instant metal classic, but Images and Words is the album that stood before them all, and still stands pretty damn tall when compared to the rest of their works today.
The opening track, “Pull Me Under”, is to me the quintessential Dream Theater song, it was also the song that first introduced me to the band. What comes from this track is an 8-minute combination of heavy riffing, cool melodies, soothing sounds, complex keyboarding and guitar work and just plain amazing songwriting. My words cannot do justice to this or many other DT songs, but I’ll try my best. This song would most likely be DT’s version of “Run to the Hills” or “Master of Puppets”, the song that everyone does or should know and love. It’s got a catchy, memorable refrain within a nice slow to mid-tempo composition that never gets too overly heavy, but doesn’t let up at any point. It’s the prime example of how to make a song that can appeal to all metal fans, from the most hardcore death metal fan to the Slipknot-hugging metal teeny-bopper, this is a song that any metalhead can listen to and at the end say “That was pretty damn good”. I dream of the day I get to see DT perform this one live.
Then, the mood completely changes going into “Another Day”. From progressive metal to what could be considered almost adult-contemporary. It was a bold move from DT to put this as the second track, but it’s a good example of the range of music that this band can perform. I didn’t care for it at first, but found myself singing along after a few listens through. Saxaphone solos and calm, moody keyboards along with a smooth quiet sound are not often metal band trademarks, but DT manages to come off this track sounding cool. It just shows that your band is pretty damn talented if they can come out of some kind of “prog-metal meets Kenny G” track with their heads held high.
Another long, complex, indescribably beautiful track arises from “Take The Time”. It begins with a forceful beat, guitar and ominous keyboards, but then turns into a high-flying keyboard solo and into a slow, jazzy kinda tune… and that’s just the first 60 seconds, and there’s 7 and a half more to go. It’s songs like this that make DT hard to review, there’s so many components and influences in the music it’s hard to say “This song sounds like this”. This song is jazzy, bluesy, poppy, epic and metal all at the same time, catchy yet complicated, that’s the essence of this song. Trust me, just take the time to listen to “Take the Time” a few times in order to truly grasp all that’s in this one, it’s quite possibly one of DT’s all-time greatest technical achievements.
“Surrounded” is the next track, and while not quite as long as some of the other tracks on the album, it’s not less beautiful or complex. It starts with just LaBrie’s enchanting voice and some nice piano medley work before erupting into another smooth and jazzy kind of track. It proves you don’t need to be the heaviest or angriest band on Earth to produce some quality rock music. It’s a kind of poppy, happy ballad but still retains a DT edge. It doesn’t sound like metal, but it still sounds good enough to satisfy someone who may be a metal fan. “Surrounded” in all the DT goodness.
Next, a true Dream Theater classic and all-time metal achievement hits your ears. If you don’t consider this next song a classic, tear up your “Music Fan Card” right now, because you quite simply don’t belong in a group of people known as music enthusiasts. That song is of course, “Metropolis Pt. 1 – The Miracle and the Sleeper”. It’s a ride through an obviously classical-infulenced piece of metal excellence. From it’s heavy riff-work to complex drumming, emotional lyrics and abundance of time and mood changes, it is a track that Dream Theater can look back to twelve years ago and be proud of. It’s got some of the highest of the metal highs and calmest metal can get and still hold the attention of its listeners through the entire track. The instrumental parts of the song are fantastic, the soloing is unparalleled and once again, my words cannot do this song justice. Just give it a listen, it won’t be 9 wasted minutes, trust me.
The album doesn’t lose any steam going into “Under A Glass Moon”, which, while not as complex as some of the other songs on this album, probably is my favorite song on this album, if not one of my favorite DT songs of all time. What begins as a beautiful melding of guitar and keyboards soon turns an awesome combination of heaviness and soothing sounds. It’s also one of the tracks where you can really hear the passion and emotion in James LaBrie’s voice, and it’s something that really gets to me. It’s definitely beauty pulled from aggression, which is something I love to hear in music. Not to mention it has John Petrucci doing what is probably one of my favorite guitar solos in ANY song ever. It’s a song that holds the same power and emotion for 7 minutes, never letting up once and in all honesty, I think it could’ve been longer. There’s too many great elements in this song to squeeze in 7 short minutes!
“Wait for Sleep” is kind of the break to catch your breath after the previous two tracks. It’s no more than some haunting keyboard work, which gives you some beautiful imagery, like a cold, winter night. LaBrie’s soothing voice complements the piano perfectly, just a short, calm track you can sit and relax to and regain your composure before this album’s finale.
It took me awhile to shine up to “Learning to Live”. It’s a long, winding track which isn’t a problem for most DT songs, but this one it just took some time for me to get accustomed to it. It sounds very different than anything else on the album, which isn’t unusual because nothing else on the album sounds quite like each other, but this song sounded particularly “out there”. It’s got almost a kind of spacey quality to it, something not very easy to immediately hear and appreciate. While most of DT’s long epics are heavily charged and a combination of heavier sounds, this song for the most part is much more subtle, much more ballad sounding than their other epic tracks. I think that’s why it took me awhile to get used to this song, but now I have a deep appreciation for the skill it took to make this track and the guts it takes to record something like this and put it on an album. In the end, it may take a few times to “get” this track, but once you get used to it, you’ll find yourself skipping ahead to it. It’s not the heaviest or most memorable song they’ve ever done, but it’s another one DT can be proud of.
Images and Words to me is the quintessential Dream Theater album and the best one to get into them. It’s got songs of all lengths and styles, from the short piano-only “Wait for Sleep” to the epic, energetic masterpiece of “Metropolis”, this album is a prime example as to why DT is a success and loved by so many the world over. This album is especially mellow by Dream Theater standards and probably will appeal more to the baby-boomer generation who grew up with bands like Yes, Be Bop Deluxe, King Crimson, etc. Unfortunately, though, it seems as though older people mostly are the ones who like Dream Theater and are highly familiar with them. I consider it a duty of mine to spread the word about Dream Theater and progressive metal, currently my favorite style/type of music.
album rating: 10/10 points = 98 % on MPV scale = 5/5 stars
point-system: 0 - 3 points = 1 star / 3.5 - 5.5 points = 2 stars / 6 - 7 points = 3 stars / 7.5 - 8.5 points = 4 stars / 9 - 10 points = 5 stars
Posted Monday, December 22, 2003 | Review this album | Report (Review #11179)
Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
Although this probably a fine band doing some complicated music this bunch of talented musicians never did anything for me. I understand this is their finest album and I still get no reaction both emotionally and physically. I heard once a 25 minute long piece from another live album (I think it was called A Change Of Seasons) and I have better memories from it . To most progmetalheads , this is one of the foundation of progmetal along with Queensryche's Operation Mindcrime.
Alltogether it is more the genre of music I don't care for . This is the only album I got to hear regularly, so it is also the only one I reviewed and I can only base my DT judgment on this album alone, but the music developped here has certainly not enticed me to discover more of their albums. It may seem to some that I am very severe but 2 stars means average.
Posted Tuesday, February 17, 2004 | Review this album | Report (Review #11208)
Review by greenback
The metal prog at its best!! There are sentimental smooth bits, aggressive guitar riffs, progressive bits, the singer's voice is perfect, piano, keybords, in a very accessible atmosphere, but it is never simple: all the song are extremely well strucured and it gives one of the best metal album ever!!
There is another very good group that has the same style: SUPERIOR. But in my opinion, DT is quite superior than SUPERIOR!!
EXTREMELY RECOMMENDED!!
Posted Thursday, April 8, 2004 | Review this album | Report (Review #11191)
Review by The Prognaut
There's still this discomfort on the back of my neck itching and burning, constantly repeating this words from the depths of my head: "I shouldn't have come across this album right after lending mind and ears to "Awake" or even "Falling into Infinity". but inexplicably somehow, there's something more powerful than the remorse lingering inside me that tells me that was the way things were meant to happen for me, just in that precise order". In the same tune, to keep on rediscovering my way throughout DREAM THEATER, I will give you a piece of my mind.
Still, I haven't figured out what's all the fuss about this album. This time I wasn't that impressed and shocked by a hallucinating "PORTNOY trademark" drum striking, instead I remained anguished and desperate during the whole disc to feel the irremediable impact upon me with the typical drum solo. but nothing happened whatsoever. The fine keyboards I was used to listen to in subsequent DREAM THATER productions happened to miss the entire album production and in replacement, Kevin MOORE performed mellow, senseless, almost elevator-ambience-music-like keyboards. If you may call it that. There are some scraps of the PETRUCCI's well educated guitar in passages like "Metropolis - Part I: The Miracle and the Sleeper", and to be fair enough with the strings execution, even in "Learning to Live" there's something that could be rescued and catalogued as "good".
One thing I could never let go, no matter what kind of extreme, exceptional and incomparable instrumentation a DREAM THEATER album has got, is the voice behind the microphone: James LaBRIE. Not only disappointing but intolerable as well. That is the right type of voice that perfectly unfits progressive metal. And I wouldn't like to rely on comparisons to prove my point here, but since I'm up to it, I would like to bring to the table unarguable precise works like the ones performed by Daniel GILDENL諻 of PAIN OF SALVATION or Tom ENGLUND of EVERGREY. They are members and vocalists respectively from bands that certainly appeal to the DREAM THEATER style because they were influenced by the Bostonian band commanded by Mike PORTNOY. Those two magnificent Swedish singers of the prog metal world sound off nothing like LaBRIE. Not a bit. Influenced by the Canadian vocalist? I don't think so. Need to say nothing more regarding this issue.
Now, another thing that surely is irrelevant at this point but that I'd like to tell you about anyway, is the artwork for this CD. The band was certainly influenced by the early MARILLION front covers or even the GENESIS ones of the 70's, containing particular elements that could be easily appreciated. But this time, they crossed the line with the "Images and Words" art design. Simply horrendous. Even so, Larry FREEMANTLE and Dan MURO made good money out of it, right?
Inexplicably intrepid somehow, "Images and Words" is an overrated album that far from deserving the complete recognition of the fans, it certainly deserves a spot within the world of the "uncanny and sloppy". I am hard but I am fair. Like I always say at the end of any review regarding a bad album, listen to it at your own risk.
Posted Monday, July 5, 2004 | Review this album | Report (Review #11226)
Review by frenchie
When i first listened to this album i instantly heard strong improvement over the patchy debut album and a much stronger grasp of progressive rock. Images and Words defines Dream Theater and begins to show off their true sounds and abilities to the maximum.
On my first listen i found this album to be excellent in shifting between mellow and heavy guitar pieces, The piano pieces are truely incredible, especially on "Wait for Sleep" and LaBrie is a much more emotional and moving singer and he settles in well on this album. Images and Words can actually be difficult to get into at first if you are more accustomed to later albums such as "Scenes from a Memory" but after i saw how highly rated this album was by the fans i thought i would give it another chance and it really started to grow on me, to the point where i love it as much as their other albums.
The opening track "Pull me Under" starts with a dreamlike, haunting guitar intro that manages to build up into an opus of heavy guitars, battling keyboards and a mixture of different vocal elements. LaBries shows off his power and the record already starts to feel much better than the debut album. "Another Day" continues this with its excellent lyrics. This is perhaps more emotional than previous songs by the band where LaBrie powerfully proclaims "you won't find it here". "Take the Time" manages to keep the flow going with some rather excellent progressions and the song manages to keep you captivated throughout. "Metropolis" is one of Dream Theaters best prog rock pieces including fiddley guitar and keyboard solos, experimental guitar effects and reprised vocals. This song proved that Dream Theater were able to keep up with the big guns of progressive rock, such as YES and KING CRIMSON.
"Under a Glass Moon" continues the albums incredible trend and by the time you reach track 5 you are well settled into the record and ready to expect the best. This song again offers the best abilities of the band but Petrucci is on fire here with one of his best ever guitar solos towards the end of the song. "Wait for Sleep" is a the most beautiful piece on the album. Moore and LaBrie dominate the track with the beautiful piano piece and brilliant and haunting singing. This piano riff continues into "Learning to Live" and builds up to serve an ever flowing piece which is a great note to end on as this shows off as much skill as on "Metropolis". This album is a masterpiece yet the fact that it can sometimes struggle to keep the listener captivated can drag the album down. For those who didn't enjoy the debut album, Dream Theater start here.
Posted Wednesday, July 7, 2004 | Review this album | Report (Review #11227)
Review by Cesar Inca
'Images and Words' is a prog metal defining classic: that's an undisputed historical fact, given its great influence on the further development of prog metal as a genre with an identity of its own. Now, the question is: does 'I&W' deserve all the praise it got and still gets from lots of reviewers, fans and a bunch of music critics? My answer is: yes, it does. The musicianship is tight and immaculate, the compositions are well crafted and attractive, the arrangements are clever and exquisite, LaBrie's vocal range and distinctive style complements perfectly his partners' instrumental input. You can tell that by now Dream Theater is a band that has found its voice and makes it scream with awesome splendour. My fave highlights are 'Metropolis Pt. 1' and 'Learning to Live'. The former's interlude has got to be one of the finest heavy rock instrumental sections ever! Before that, its intro theme is ethereal enough to build a perfect contrast against the following riff sequence, while the sung parts are both exultating and dramatic. 'Learning to Live' is in many ways as bombastic as 'Metropolis', but the overall mood in the sung parts feels more intimate; plus, the multi-section instrumental interlude (another absolute highlight) tends to be less aggressive, even including a latin-jazz isnpired portion led by a soft acoustic guitar motif. Of course, I won't forget to mention the catchy opening number Hamlet-based 'Pull Me Under' (so far DT's most popular tune); other prog tinged gems such as the frantically complex 'Take the Time' and the powerful 'Under a Glass Moon'; and the beautiful piano-vocal ballad 'Wait for Sleep', which serves as a proper prelude to 'Learning to Live'. Moore's keyboard parts play a fundamental role with his textures, solos and harmonies, when it comes to keeping the prog side of DT's music working effectively. Meanwhile, Petrucci manages to recycle the combined legacies of Howe, Lifeson, Satriani, di Meola and Holdsworth with total energy and finesse: all his typical pyrotechnics is there, but somehow you can notice that the emotional appeal is also there (for instance, the overwhelming solo in 'Another Day'), showing that technical skill is not exclusively what Petrucci's style is all about. The rhythm section is well oiled, with Myung bringing a highly melodic touch to his impeccable bass playing, and Portnoy assuming a machine-like vibration for his drumming: by doing so, Portnoy manages to emphasize the metal side of DT on the backround of all this prog paraphernalia. After all, this is a prog metal effort, and Portnoy is in charge of keeping 75 % of the metal side of DT's sound functioning properly. Without hesitation, I give this album the perfect rating: a red hot masterpiece of 90s prog!
Posted Friday, July 9, 2004 | Review this album | Report (Review #11229)
Review by Gatot
No question, no doubt, no compromise, in my humble opinion (IMHO) this album is a true masterpiece! May I suggest you for not reading any review that gives this album less than 4 (out of 5) stars rating? Thank you for whatever decision you take. I suggest you should also not read my review below as you may get bored with a lot of admiration about this album. Just one thing, if I may suggest, BUY THIS CD! (. and do NOT read the write-up beyond this line because it will poise you! - probably. Unless, you are skeptical........).
Now, let me give my rationales why do I give full five stars despite this band was not the founding fathers of prog in the glorious year of end of sixties and seventies. [I don't think even the band was aware that their music considered prog. Listeners were the ones who box the kind of music they played. So, we're the one to put the box for DT music.]
Rationale # 1: Dream Theater is the pioneer of a new progressive metal sub-genre. Early 90s was the birth of this sub-genre and this album represented the best example of what kind of sound the prog met is all about. We have seen obviously the sheer influence of Dream Theater to many prog met bands in 90s and 2000s; almost all of their music were compared to the standard of DT music (including this second album of DT).
Rationale # 2 : Dream Theater's music unifies people of different ages. This is obviously true! The early generation who were teenagers during the glory years of 70s when they listened to the kind of Deep Purple, Led Zeppelin, Pink Floyd, Genesis, Yes, King Crimson and so on can accept and enjoy DT music really well. I find even some of them were amazed about how skillful the guys in DT are! Some early generation even commented that in DT music they can get a sense of Rick Wakeman's keyboard style augmented with speedy and technical guitar fills. My friend, Leo, was a classic rock music minded and just listened to this album couple years ago and amazed with this album. Another part of the generation (the marketer used to call it as Generation X) who are young people enjoy the kind of DT music. Couple weeks ago I met my nephew who was just grade 6; he told me that he played bass guitar covering DT music! What a big surprise for me! What surprised me more was that many of his friends love Dream Theater music. Uuughhh ...!!!
Rationale # 3 : This album has powerful songwriting, tight structure featuring heavy riffs (in the vein of metal) and changing tempo, most of the time in fast tempo, melodic and is cohesive as an album. From opening track "Pull Me Under" to "Learning To Live" you will enjoy the power and beauty of their music. Even this morning, the classic track "Pull Me Under" lifted up my spirit at the opening of the day with all positive energy!
Rationale # 4 : (you write your own rationale, as I am very sure there are many more!)
My conclusion: this album is a true masterpiece! Rating: 5/5.
Another recommendation:
Watch, listen carefully and observe Disc 2 of Dream Theater "Live at Budokan" DVD. You will comprehend and understand ...
GW, Indonesia.
Posted Wednesday, December 22, 2004 | Review this album | Report (Review #11247)
Review by TRoTZ
So this is it: the album which gave a new standard to progressive metal! The first well- succeeded album presenting a resemblance from the classical motives to the powerful metal playing. To definite this album in a few words, I couldn't make better than Piero Scaruffi's in the History of Rock Music 1951-2000 itself, so I transcribe it "lengthy melodic fantasias that relied on symphonic magniloquence (Kevin Moore on keyboards), fluid instrumental passages (John Petrucci on guitar), haphazard rhythms (Mike Portnoy on drums) and romantic emphasis (James Labrie on vocals)".
The first track of the album, Pull me Under, is a DREAM THEATER's great hit, maybe the most acclaimed one, but not exactly the most exemplificative of the progressive vein of the album. It resembles a bit a METALLICA song (Black Album was edited one year before). It is very powerful, great catchy melody, great riffs, but it is not for it that this album is a reliquary of progressive music. Another Day, another DT's memorable song, introduced with a mellow piano and continued by emotional guitar and jazzy saxophone solos. Take the Time arrives with a mysterious organ sounding, presenting a long metal suite with subtle and heavier parts, good melodies, good guitar work (more again emotional solos, not just playing around scales). The catchy guitar riff in 4:49 is going to reappear slightly changed in the last track. Sorrounded shows more of their ability to intercalate delicate melody with enjoyable and not to aggressive metal parts. Metropolis I is another excellent metal suite which is going to be present all over the 7 years later masterpiece Metropolis pt.2 - Scenes from a Memory. Under a Glass Moon is instrumentally the great highlight of the album, Petrucci exploring his guitar solos to the limit. Impressive playing! The quality of Portnoy's drumming is also impressive (as in the whole album) with speedy turbos, fantastic transitions... superb interpretation! Wait for Sleep is a fantastic mellow prelude to Learning to Live, the last and the longest track of the album (the first organ riff resembling MARILLION's Emerald Eyes introduction), another fantastic well orchestrated suite, many enjoyable and diverse riffs giving great ambience! The emotional piano of the previous track reappears near the end, as the climax of the track, it's like you were being prepared to listen it again.
With this album, DT wrote a new page in the history of progressive rock/metal music. It's not just heaviness you know? All is well synchronized and orchestrated, it's a pleasure to listen to it, there are no dead parts. Mainly for the history and the originality, but also the technical quality, the emotional playing, the fine melodies and riffs, the good lyrics, this album is surely AN ESSENCIAL TO ALL PROG LOVERS.
My rate: 9/10
Posted Sunday, December 26, 2004 | Review this album | Report (Review #11249)
Review by Certif1ed
Heavy Metal with frilly bits - but NO PROG
This is in no way a masterpiece of prog rock - it's a very good and progressive metal album, but the influences are so obvious and the style so narrowly in the metal vein that it is impossible for me to consider it a prog rock album.
Some people say this is a masterpiece, mainly because of the virtuosic playing and because people like it, which is fair enough - but leaving opinion aside and recognising that virtuosity does not a prog album make, let me start my review with my customary yardstick: Can I tell from the first 5 minutes the overall style of the rest of the album? If I can, then it's clearly not a prog album.
Pull Me Under mixes Yes, Diamond Head and Metallica (a riff from "...And Justice For All") with a strong melody - but, virtuosic musicianship apart, a surprisingly unremarkable track, given the strong support. There are progressive moments where the riffs go noticeably into Yes territory - but nothing particularly inventive or truly progressive.
Another Day is, on the surface an FM rock ballad replete with sax. It is an interesting interpretation of the standard rock ballad, but not a prog song.
Take the Time starts with a nice keyboard wash, leading to some interesting rifferama which sounds quite close to the first track. A little Steve Vai guitar and rolling bass leads to a section which sounds remarkably like Skid Row. The chorus is what really destroys any prog pretensions for me, and the busy, over-powerful drums seem somewhat unnecessary. There is a nice developing riff section from about 4", which reminds me somewhat of Twelfth Night (Live at the Target), but the keyboard lead is quite horrible. More riffs follow in an unrelated mish-mash forming a kind of bridge between keyboard solos which are unnecessary as well as naff-sounding. Wearyingly back to the chorus, this track shapes up to be an overlong standard rock song with prog pretensions. A piano heralds a sudden change, with a lovely, fluid guitar line, but the overbearing drums soon herald a coda section which quotes the chorus and a predictable fast'n'furious but very melodic guitar solo draws the piece mercifully to a close.
Surrounded starts like another FM ballad replete with naff string synths and this album begins to shape up like an REO Speedwagon or Foreigner album albeit with slightly odd prog and metal-orientated rhythms.
A simple riff kicks off Metropolis - Part I, quickly followed by another riff from Metallica's "...And Justice For All" album (the bridge section of "One"). It gets kind of interesting around 2:40, reminding me of part of Les Miserables, but the style is now extremely predictable and limited to the simple riffs interspersed with chumking metal riffs. The vocals are stubbornly in the realm of Sebastian Bach. Around 4:20, some odd timings are thrown in, in what seems like a futile attempt to say "we are a prog band, you know", but these sections do not add to the drama, only the length and percieved complexity of the piece. Anyone can tack a bunch of unrelated riffs together - the skill comes in making seamless music and getting unrelated riffs to sound related. Listen to Supper's Ready to get an idea of how this is done. The patchwork quilt of this piece lacks overall artwork and is wearying and annoying to listen to. An extended bridge in a standard rock song structure does not make a prog song.
Under a Glass Moon confirms that there is a single style running through this entire album, and that it does not, ultimately progress. We have keyboard washes, Metallica riffs, Yes and possibly King Crimson quotations, and basic rock-song constructions, with the familiar Seb Back vocals. Short bridges underline the prog wannabe style - it's really good to hear a band desire the prog status, but, for me, good prog does it without trying, and the mistake that this album makes time and time again is that it tries too hard.
Wait for sleep opens with an extremely simple piano line and synth washes, and the ballad style (again). This continues throughout, developing slightly - making this the closest this entire album comes to real prog!
Finally Learning to Live. I think the Metallica riff comes from "Ride The Lightning" in this case, but there's also a touch of "...And Justice for All". After the predictable riff, the snare sounds so 1980s that a feeling of neo-prog arises; a kind of mix of Pallas and IQ. This is followed by the riff from "Justice..."'s title track. Around 4:40 there are some interesting texture changes, but those keyboards sound so horrible! The guitars sound good though, but this is yet another patchwork quilt bridge section - not real progression, as the musicians take us on an arbitrary journey with no real drive, rhythm or drama in the structure - indeed, what is so wearying is the lack of any real structure to these sections.
This is NOT a prog album, let alone a masterpiece of the genre!
To hear a real progressive metal band at its best, go back 4 years to Metallica's "...And Justice For All" (1988). The latter is a superlative for all that progressive metal would become - but without the keyboards, although it was the earlier "Master of Puppets" (1986) that first established the prog metal sound. Also worth investigating are Megadeth's "Peace Sells, But Who's Buying", Slayer's "Reign in Blood" or "South of Heaven", Kreator's "Extreme Aggression", Napalm Death's "Scum" and Helloween's "Walls of Jericho".
To really dig into progressive metal's past, check out Diamond Head's "Living on Borrowed Time" and "White Album", then any Budgie album from the early 1970s. The fluid and imaginative riffs, grounded in Led Zeppelin but escaping the shackles of blues/folk rock in a way pioneered by Uriah Heep, will show you clearly what is meant by progressive as opposed to the more patchwork approach we see here (sic).
Re-interpreting other band's material is one way of producing prog rock, as some of the "real" prog bands will testify (e.g. Yes's use of Crosby, Stills, Nash and Young and the Beatles as springboards), but the overall feel of the music on this album is of Heavy rock with metal and progressive leanings - there are not enough elements present to make a fully-fledged progressive album let alone a masterpiece! There are far more progressive metal bands out there - for example, Cradle of Filth.
So I rate it as Good (with some excellent technical and melodic playing), but not essential for a collection of prog rock, as it does not sit easily alongside the prog greats.
Posted Tuesday, January 4, 2005 | Review this album | Report (Review #11250)
Review by maani
SPECIAL COLLABORATOR Founding Moderator
Knowing that I will have CDs flung at me from all sides of the room, let me get this out of the way: this is NOT a prog album. In this regard, I am actually being somewhat generous with my rating (it probably deserves two-and-a-half stars). What this IS is a speed/power metal album with some "prog sensibilities" (some more well-realized than others) and occasional "true" prog elements. Within its own genre (speed/power metal), I would give this album four stars, since it is a particularly excellent example of that genre. But prog? As a whole? I think not. After all, there is more to prog than double bass drums, non-standard time signatures (and signature changes) and everyone playing fast at the same time. / I am also glad - very glad - that I heard "Scenes From a Memory" first, or I might never have gotten to it, failing to believe that a band could get from here to there in just four albums. Not having heard (yet) the "bridging" albums, it may be that their progression makes sense. However, at this point in their career, they were still relying way too heavily on Portnoy's double bass, Petrucci's speed-freak guitar-playing, and Labrie's high-register screaming to infuse the music with a "compelling" quality, or any sense of "urgency." They had not developed the discipline - or learned to "relax" enough - that would lead to the much greater maturity one finds on "Scenes." Yes, "Scenes" also has lots of double bass drum, speed-freak guitar and screaming vocals. But the band no longer RELIES on them to be compelling: they learned how to "relax" and write compelling material that speaks for itself. / As I review "Images and Words" song by song, whenever you see the elipses (the three dots after the word "but"), fill in the phrase "it's not prog." / The album opens with the extended "Pull Me Under," a very good speed/power metal composition (with a neat Def Leppard-y feel, particularly the chorus), well executed, but... "Another Day" is a reasonably good "power ballad" (with sax!), but... The second extended piece, "Take the Time," displays some prog sensibilities, especially in a nice jam from 4:40 to 6:00, but... "Surrounded" is an excellent example of speed/power metal, and has some intimations of where Dream Theater would eventually go, but... "Metropolis - Part I" is only a "shadow" of what "Scenes From a Memory - Metropolis Part II" would be, and has the first real "prog" jam at 5:50-8:05, with a particularly excellent section from 7:00 to 8:05. "Under the Glass Moon" opens with a nice proto-prog figure until 1:20; the rest is truly "screaming" speed/metal. But... "Wait For Sleep" is among the prettiest, most beautifully crafted ballads I've heard (with a wonderfully simple but marvelously effective piano figure by Moore), and Labrie's voice is particularly sweet here, but... "Learning to Live" is an extended (actually, over-extended) composition with some prog elements, but... / I was also very unimpressed with the lyrics as a whole. / As an aside, I did notice some interesting "thanks" from the band to: Derek Shulman (he of Gentle Giant, and one of the producers of this album), Slash (makes sense, given Petrucci's style of playing), and Marillion (among other bands). / When all is said and done, this album only "straddles" prog. However, because it is good, even compelling, for what it is - speed/power metal - I have lifted it above "collectors/fans only," which is where it would otherwise belong.
Posted Thursday, January 13, 2005 | Review this album | Report (Review #11252)
Review by MikeEnRegalia
This IS prog ... but not traditional Progressive Rock. It is a form of Progressive Metal, but in the years to follow this release, bands like Pain Of Salvation stretched the boundaries of that genre much further. Yet this is an excellent release, featuring a wide bandwidth from soft pop ballads (Another Day) to ultra prog (Metropolis). I don't think that this type of music qualifies as Speed or Power Metal, as others suggested, because it's just so much different than other releases from those genres. Your typical Speed Metal fan would not listen to Dream Theater. Instead, he might consider it too progressive ...
But I have to admit that progressiveness in itself was probably not what the band had in mind when they created Images And Words. I think they really just wanted to create music that is interesting for the listener, and fun to play for the band. It may lack the seriousness of King Crimson, and the vocal arrangements of Gentle Giant, there's not even a mellotron ... but each track except the ballad has truly progressive elements.
The one outstanding track on this record is Learning To Live. It's really a good summary of all the other tracks, and it's a track the band almost always includes in the setlist. And of course Metropolis Pt.1, the first part to their masterpiece Scenes From a Memory, which was initially "just" a follow up song to Metropolis Pt.1 and then became a full concept album.
Posted Friday, January 14, 2005 | Review this album | Report (Review #11253)
Review by FloydWright
While I think this album was very promising for DREAM THEATER, I have to admit I can't understand why people would give it the full five stars. This isn't Awake. Still, it makes a nice predecessor to it. First, the production isn't really up to later standards. Musically, the sound is something between prog and metal and pop (well...pop in the vein of PINK FLOYD's A Momentary Lapse of Reason...that is, GOOD pop)--those criticisms are accurate, so if you're a strict proghead or strict metalhead you might not enjoy Images and Words. However, if you're interested in a rather less pretentious version of DREAM THEATER that is less focused on being prog giants, and more interested in creating good music (regardless of what genre it happens to fall in), this is a good one to check out. If you didn't like Scenes from a Memory, don't fear...you might have a chance with this one (and you should get Awake, too). Don't worry about the fact that "Metropolis, Pt. 1" is on here. But I'll get to that later.
This album will show you two musicians who, unfortunately, you don't get to hear very much of on later albums...and whom I think are sorely missed in later works: keyboardist KEVIN MOORE (who left the band after Awake) and bassist JOHN MYUNG (who was downplayed after this album). MYUNG gets far, far more solo time here than usual, and he really is quite good. His best moments are in the background of "Take the Time", and in prominent solos in "Metropolis, Pt. 1", and "Learning to Live", and it's a shame that he doesn't seem to do these kinds of things more often. He reminds me most of former SYMPHONY X bassist THOMAS MILLER.
In my opinion, KEVIN MOORE really contributed something wonderful to the band--and completely irreplaceable. MOORE isn't the kind of keyboardist who feels the need to show off every five seconds (like a certain current DT keyboardist). Rather, his technique is actually more reminiscent of PINK FLOYD's keyboardist RICHARD WRIGHT...not the work of a "virtuoso", but still the work of someone who knows when it is appropriate to play, what to play, and when it is appropriate not to play. Fine examples of MOORE's "just enough" playing are "Take the Time", the painfully short "Wait for Sleep", and "Surrounded"--especially in the beginning and end. He knows how to make good use of simple riffs...and also of hesitations and silence: little places where he waits a few seconds before changing to a different note, or places where he simply stops playing. These pauses are where your heart stops and the tears start to well up. Other times, he works subtly in the background; you don't even know why you were suddenly moved, but the odds are that MOORE had somethng to do with it. It was a terrible shame when he left the band and I'm not sure they've ever truly recovered from it.
The best points of the album are "Pull Me Under" (poppish but enjoyable to me), "Under a Glass Moon", "Wait for Sleep", and most of all "Learning to Live". "Under a Glass Moon" really seems to have inspired the base technique of SYMPHONY X, who would begin writing music two years later...the resemblance is really quite shocking. "Wait for Sleep" is a beautiful slow KEVIN MOORE piece...one only wishes it were longer. "Learning to Live" is something I think every DREAM THEATER-basher ought to hear: with this piece, DT manage an 11-minute piece (almost) that never, ever bores, and flows all the way throughout. This is one of those songs you don't want to be interrupted in the middle of. The other epic, "Metropolis, Pt. 1" wanders around a bit in a few parts (foreshadowing Pt. 2?), but is still likeable enough that I find myself wishing that DREAM THEATER + RUDESS had not disgraced its name with the album Scenes from a Memory. The only song that I think might be a turnoff to some is "Another Day"...I think that on this one, DT was gunning for radio play and that sax can be a bit Kenny G'ish at times. It's not horrible, but not quite up to the standard of the rest of the album. Also, on occasion JAMES LaBRIE shows that he hasn't quite found his voice yet...he seems to be trying to sound like GEDDY LEE and occasionally it backfires on him. (I say this as someone who likes his singing, not as a LaBRIE-basher!)
Overall, though, I think Images and Words is one of those DREAM THEATER albums that non-hardcore fans should consider getting. Start with Awake--but then make sure to make this your next purchase.
Posted Tuesday, March 1, 2005 | Review this album | Report (Review #11265)
Review by el b鰐hy
whats the big deal about???? I mean, what does images and words have that makes it so "special"??? the songs are all long and sometimes even borring, because some of them are pretty much alike. pull me under is for my opinion like an old metallica song but...not that good. another day is just too corny for my taste and under a glass moon is... I don磘 know how to put it, but it磗 not what I would listen. The instumentation is very good, I give you that, and allthough I磎 not that much of a fan of the ultre fast guitarrists I must admite that petrucci is very good. This is my only DT album and I don磘 think I will get an other. Dream Theater is just not what I hoped it would be. To be honest I was hoping to get something like ...and justice for all from metallica, but...I guess not...
Posted Sunday, March 6, 2005 | Review this album | Report (Review #11268)
Review by Bj-1
Definitely Dream Theater's finest hour and one of the overall best releases featured in the prog-metal genre, and it's a clear improment over their debut album too with overall stronger songwriting and clearer much more balanced production. New vocalist James LaBrie makes his first appearence here and gives the band a new and better voice to their music (their first one was too uneven, IMO). Musically, the mix of melodic prog and metal goes very well here and the band knows when and where to calm down in time. The longer tracks here are the best ones and "Metropolis" and "Learning to Live" are some of the best songs Dream Theater ever put out on an album, but the shorter and mellower tracks are very good as well, notably "Wait for Sleep". Fantastic instrumentation by the band as well and the album rarely, if ever, lacks focus, and the only "weak" spot on this album is "Another Day" which remains a good song.
A brilliantly balanced and solid album overall with some of the best material from the band ever. It stands as one of their two best releases to me (the other one being "Awake") and is essential if you like prog-metal.
Posted Thursday, March 31, 2005 | Review this album | Report (Review #11277)
Review by Tony Fisher
To think that this is a masterpiece of prog is ridiculous. Sure, they can all play; in the guitarist's case, fast and flashily. But, although they deserve credit for that, that's not enough. The compositions are complex and often do not link into a credible whole; they seem to be a sequence of passages designed to show off the instrumental prowess of the band. Sure they're prog, but metal? No way - just a very good bunch of musicians playing complex but not very well composed hardish prog which ends up rather average.
Posted Friday, May 6, 2005 | Review this album | Report (Review #11291)
Review by Menswear
This album is a great addition for Metropolis part I, and the rest can be founded on any other DT album. Some songs didn't aged very well, and for an album of that calibre, this is bad news. Some songs could create a large case of laughter among friends....saxophone anyone?
The album is marked deeply with the big metal attitude that reflected so well a generation of headbangers. Big hair, big drums (sounds like Kiss for crying out loud), big dramatic vocals, black clothes for everybody, clean shave and lots of curls.
Metropolis part I is without the shadow of a doubt, a superb exercise of how DT is a professional band. They hit the spot all the way with grace, dexterity and the expertise Rush showed for so many years. And that's a compliment I'd like my band could deserve.
An absolute classic for many, to me the debut of an era.
Review by FishyMonkey
Well, Dream Theater's second album is definitely a strong offering. I'd say about 5 of the songs are excellent, two are pretty good and one is bad. Where this album succeeds thougyh, it really succeeds. This is what prog metal is all about -- strong melodies, great musicianship, mindblowing solos and long epic songs. On paper it's great, but the execution is flawed on some songs like Learning To Live and Pull Me Under. Other times though, Dream Theater really pulls through with one hell of a song.
The first song, Pull Me Under, starts out promising enough, but quickly falls into a repetitive melody and is all-together much too straight-forward for my tastes. It's nice, but not that great. Another Day is a strong ballad pulled off very well, with one of my favorite Petrucci moments of all time in the video. Very nice song, much better than Pull Me Under. The next song, Take The Time is definitely the strongest song on the album with a killer begginning. The rest of the song doesn't get boring either! Clean riffs and excellent guitar playing all the way through. This is a contender for one of my favorite Dream Theater songs of all time, definitely.
Unfortunately, the next piece, Surrounded, falls flat on it's face. Where Another Day succeeded gloriously, Surrounded dies in. Surrounded does have some good elements, like a pretty good melody, pretty good lyrics, and a pretty good progression. Unfortunately, everything else kinda sucks. It's not terrible, just not very good at all. The next piece though, Metropolis pt. 1 -- the joke that started it all -- is a VERY strong song. Gets kinda cheesy after awhile and is bogged down by a way too long solo section (HOLY CRAP! Not only did they carry over lyrics and meanings to Scenes from a Memory, they also carried over the flaws like boring wankery and cheesiness after a few listens!). It's still an excellent piece, though not nearly as good as Take The Time, Learning To Live and...
Under A Glass Moon! This piece always manages to get me going, just like Take The Time. Such an awesome piece. The melodies are perfect and the guitar parts are slick. Nothing feels forced, either! Hooray! It's clear sailing from here on, with Wait For Sleep being a pretty and haunting ballad, one of the prettiest DT has ever written. Learning To Live is the classic DT epic, with my favorite Labrie movement ever in the middle (the high pitched wailing that goes incredibly high -- some may hate it, but I love it, especially when he pulled it off live) and great lyrics. I mean GREAT lyrics...to me at least. The only problem is a long solo section the drags it down like Metropolis pt. 1.
But one more thing: the classic question of is it prog? Well, sometimes yes, definitely like Learning To Live and Metropolis pt. 1, while other stuff is heavy/thrash metal with some great prog influences like Take The Time and Under A Glass Moon, while finally Pull Me Under and Another Day are just straight rock. So yea, half the time it's good prog...some may find this unacceptable, but ot the more open-minded of us, it's fine because the whole album is quite good. 4.2 rating.
Posted Monday, June 6, 2005 | Review this album | Report (Review #35443)
Review by Eetu Pellonpaa
I listened this album as I had had a quite positive impression from their "Change of Seasons" suite, which was my first introduction to this band. Sadly this CD killed my budding interest towards them, as the style of their music on this CD didn't please me at all. Without doubt this album is produced professionally and the band has great playing skills, but this just isn't stylistically my cup of tea. Luckily their thing has found many fans, and I must admit that the album covers are very nice.
Posted Saturday, July 9, 2005 | Review this album | Report (Review #38923)
Review by Zitro
I think this album should be owned by anyone making a progressive metal compilation. Without a doubt, Dream Theater is the most popular band of the progressive movement nowadays. Is it the speed? the power? the vituosity? The compositions? I believe it actually is because of all those qualities. They are all young musicians who graduated from an excellent musical university. The guitarist may be as fast as Jimmy Page, The drummer has a skill as good as John Bonham, and the other members are very skilled too. All of them combined resulted in this album which for many is considered the masterpiece and the representative album of Progressive Metal. It has powerful songwriting, tight structures, impressive rhythm, and amazing musicianship. The only thing I don't like is the singing, and it's a major criticism that I will have in every single Dream Theater album. While his voice is professionally trained, his wails just do not sound good.
1. Pull Me Under 8/10 : This is the most known song from the band. It is very accessible, and has catchy hooks all around making almost anyone like it from the first listen. The guitar solo is simple, but more melodic and one of the better solos of Petrucci. The chorus is instantly likable.
2. Another Day 7/10 : A ballad with a beautiful arrangement to boost the song. LAbrie does his best and hits very high notes in his voice while guitar, piano and a saxophone plays. One of the best vocal performances of Labrie.
3. Take The Time 7.5/10 : This song is excellent. Portnoy sets complicated rhythms and the members can follow it flawlessly with great musicianship, vocal hooks, and an instrumental break where you hear Petrucci really shine.
4. Surrounded 7.5/10 : A delicate piano introduces the song and you may be fooled that it is just a ballad. but then the guitar enters in 9/8 and is transformed into a metal song. The guitar solos hear are very inspired and beautiful. The delicate piano appears again at the end while JAmes sings.
5. Metropolis - Pt. I "The Miracle And The Sleeper" 9/10 : Probably their finest song in this album. The music style is epic in nature and hints what is about to come next (Change of Seasons). It is a heavy metal piece with beautiful and unusual time signatures. The main riff of the song is classic, the keyboard embellishments are perfect (Kevin Moore is my favourites DT keyboardist), and the guitar work is art.
6. Under A Glass Moon 8/10 : What a fantastic guitar introduction in this song! This is a chaotic song full of guitar solos.
7. Wait For Sleep 9.5/10 : A perfect short ballad with one of my favourite piano lines I have ever heard. The time signatures always change to unusual ones making not only a great ballad, but also a highly professional and complex one.
8. Learning To Live 8.5/10 : This is a very popular track among Dream Theater fans, and I agree with them. It has everything : virtuosity, good songwriting, great bass lines, nice singing, entertainment, and a Flamenco solo!
For anyone who wants to try the band, I think that this is the best place to start. It is the album in which the band found their sound, and also where they were at their very best.
My Grade : B
Posted Sunday, August 7, 2005 | Review this album | Report (Review #41908)
Review by richardh
I've held back on giving this a review as I am aware of the general warmth towards this so called 'masterpeice'.However it does not one tiny thing for me I'm afraid.Just one long yawn from beginning to end.Nothing to my ears other than just a bog standard set of heavy metal tracks.Six Degrees and Octavarium are way better IMO.Thanfully DT were to evolve into something a great deal more interesting.
Posted Monday, August 15, 2005 | Review this album | Report (Review #43012)
Review by The Crow
This is probably the progressive metal's most important album, and one of the most important albums of progressive music too!
Due to this disc and the later Awake, the progressive genre enjoyed from really good health the last decades, because a lot of people (like me) discovered this way of understand music with Dream Theater. For that I must give a lot of thanks to Dream Theater for revitalizing the progressive music at the beginning of the 90's.
The album itself it's a true masterpiece. All the songs are magnificent, with a fantastic production and instrumental development. Maybe the keyboards are in a little too 80's way sometimes, but I'm still loving this entire album completely.
Pull me Under starts with a mysterious guitar melody and original keyboards, and soon derives in a very strong guitar riff which are soon accompanied by the great La Brie's vocals. After that we can hear the typical masterclass of songwriting and variations that this album had in their first albums. Another Day is even better, with a memorable saxophone playing and an outstanding guitar solo.
Take The Time is simply the best Dream Theater's song in my humble opinion, and among the best progressive songs ever recorded. Just incredible! Surrounded it's different from the rest of the album, and maybe for this reason has a special place in my heart. It has some Rush and Saga influences and sometimes it sounds even Neo-Prog for me. Just great!
Metropolis ? Part I has another atmospheric beginning leaded by the Kevin Moore's keyboards and after that, just like Pull me Under we can hear a collection of great riffs which lead to the verses. This composition is more obscure and dramatic than the rest, and a very good central track. I will never forget the first time I heard the instrumental part of this song which begins at 4:17 many years ago. I was blown away! And I'm still amazed of the quality of these musicians.
Under a Glass Moon has a majestic beginning, worthy of the best science fiction film! Then the strong drums beef up the song, which derives in another heavy riff and very original verses with the initial melody. The instrumental development of the song is also fantastic. Another classic of this album with a superb guitar solo!
Wait for Sleep is a slow and beautiful ballad driven by a marvellous piano melody. Here we can also hear the ability of La Brie to sing in lower tones. And Learning to Live is the final masterpiece. Another brilliant piece of pure progressive metal with the best keyboard work of the album, great bass lines and another outstanding example of good songwriting and musicianship.
Conclusion: Images and Words is one of the peaks of progressive and a must for everyone. Even if you don's like progressive metal, this is a must hearing album.
Last fact I want to comment: James LaBrie couldn't never reach again the great voice and the incredible high notes that he reached in this album. In Awake he sounded rougher and he has been losing his voice along the years for the reasons we all know.
And that's a pity.
Best Tracks: Pull Me Under, Another Day, Take The Time, Surrounded, Metropolis ? Part 1.
My rating: *****
Posted Sunday, September 11, 2005 | Review this album | Report (Review #46323)
Review by belz
I have trouble reading all the reviews on this album. I just don't see how this could even be close to a masterpiece. This is unimaginative music with poor keyboards and an uninviting voice. Sure, those guys have talent, and they know how to play guitar and if you enjoy some good fast-headbanging riffs there are some, but there is absolutely no emotion there, not anything worth listening closely to or enjoying again and again. There are some real prog-metal groups out there which involves much more passion/emotion and are not trying to impress too much with an overwhelming technique (sometimes too much is worse than not enough).
I should probably give 1 star, but I chose to give 2 stars by respect to all those who believe this is great. I don't agree with you guys and this should be a "Collectors/fans only" album.
Posted Friday, March 17, 2006 | Review this album | Report (Review #72161)
Review by Cygnus X-2
Dream Theater's sophomore effort is something of a mixed bag for me. There are some definite progressive moments on the album and some overrused power metal phrases and fringes throughout. The band hit the big time with this album, mainly based on the strength of their breakthrough single for Pull Me Under. This is also the album that introduced the world to James LaBrie, and his definite metal influences come full circle with some quite honestly cheesy vocals (though some are quite nice). Petrucci's guitar stylings are at his most metal and blend many styles from melodic to shred and even some Alex Lifeson type chorused sounds. Mike Portnoy plays some nice drums (although the sequenced bass drum and snare sounds can get very annoying fast), John Myung has some wonderful bass parts (Metropolis comes to mind), and finally Kevin Moore gives some nice keyboard performances and really uses the keys to his advantage giving some very mellow and atmospheric performances.
The album opens with Pull Me Under, the song that gives them the "One Hit Wonder" title and has been played on essentially every tour since it's inception. The opening progression has some nice chorus effects to it and the song has some nice keyboard frills during the pre-verses. The riffing during the verses is unique and shows that Dream Theater liked to experiment with unique chordal progressions. The solo on this song (now augmented with some nasty wah guitar) is one of Petrucci's best. Another Day has cheese written all over it. One of the most overblown and overdone DT songs to date, it comes complete with some nice but clich閐 saxophone fills. Take The Time is one of the stronger songs on the album, and the opening progression is easily one of the most complex things Dream Theater has done. My only complaint is that the verses are a little too ill-fitting for a metal song, and the background vocals in the chorus are overdone. It has some superb guitar work from Petrucci and keyboard work from Moore.
Surrounded is a Kevin Moore led ballad, and one of the weaker tracks on the album. A bland riff and some mediocre percussion are on this song, and I'm not too impressed with Petrucci's approach to this one. Metropolis Pt. 1 is one of the most popular Dream Theater songs ever created (and it even gave birth to a whole album, to boot) and rightly so. Strong riffs and rhythmic approaches give the song it's flare, but the instrumental section in the middle of the song is just utterly superb, with a mind bending tap bass solo from Myung and some supreme unison work between Petrucci and Moore. Under a Glass Moon is a typical metal affair and not a favorite of mine. I like the guitar work, though, the solo Petrucci unleashes is a powerful piece of work and remains one of my favorite solos, though.
The finale to the album, the duo Wait For Sleep/Learning to Live, is one of the strongest pieces Dream Theater has written. Wait for Sleep is a piano/vocal duet and Moore really shines on this track, showing why he's one of the better keyboardists in rock. Learning to Live is one of Dream Theater's more rhythmically challenging pieces, with some nice use of the complex signature of 13/8. Petrucci is a powerhouse on this track, pulling out all the stops with his guitar. Myung really shines on this track with some nice lyrics and bass work, and LaBrie gives one of his all time best vocal performances overall.
In the end, this is a good album marred by a few flaws. First, the drum sound is totally awful (mainly because of the sequenced bass and snare) despite the great performances, and the album has a totally over the top feel to it, as if they wanted to make it as Progressive as possible. However, despite these faults, there are some wonderfully crafted songs here that everyone can enjoy. I give it a 3.5/5.
Posted Tuesday, March 28, 2006 | Review this album | Report (Review #73350)
Review by Seyo
I may be little old and conservative, but I don't see anything innovative, original, groundbreaking, emotional, thought-provoking or progressive in this album, which seems to be higly regarded by fans. What I can hear, and believe me I heard a bunch of good and different types of rock music in the previous 25+ years, is a dull, uninspired play with quite horrible vocals. Imagine the worst of METALLICA joined with the worst of neo-prog! This is not even "metal", much less "progressive". The guys are clearly capable of playing instruments, alas playing instruments is not necessarily contributing to the art of music. If you want to hear real "progressiveness" of the heavy metal rock, go grab BLACK SABBATH or BLUE OYSTER CULT from the early 1970s! Comparing to them, DT sounds like a Xmas carol. 1,5 stars!
Posted Monday, April 3, 2006 | Review this album | Report (Review #73980)
Review by imoeng
Images and Words is Dream Theater second album which released in 1992. This album was the very first album that introduce progressive metal style to the whole world at that era, although I was only two years old when it was released : ) . So anyway, its also the first progressive metal album for me and this album has turn me into progressive style, especially progressive metal. So I would not consider that this is a great album if it didn't turn me into progressive style.
Images and Words is quite different with When Dream And Day Unite album, in terms of musical composition and musical style. I think this was probably because of the appearance of James LaBrie in Dream Theater. Moreover, every time I listen and look back into When Dream And Day Unite, the songs are more into real pure progressive, different with the songs in Images and Words which contain more progressive metal.
So let's take a look closely at each song.
Pull Me Under This song is probably the song which breaks the door open to the world of progressive metal. The coolest part of the song is the guitar - keyboard licks throughout the song, and combined with amazing Portnoy's drum section. Notice how the song ends, they just cut it out in sudden which I found very rare in every other songs, but that is progressive, breaking all the rules.
Another Day After a metal song, Images And Words presents a 80s ballad song, which has normal song configuration (verse pre-chorus verse pre-chorus chorus solo pre-chorus). The "words" or a lyric was made by John Petrucci, and it has his typical, beautiful words and deep meaning. Although this song is not as progressive metal as other song, I still admire it as one of the best songs. And one more time, although the whole song is somewhat cannot defined as 100% progressive metal, they still add some progressive elements, through John Petrucci's amazing and beautiful guitar solo.
Take The Time Another rock-metal song from Images And Words, but its heavier than Pull Me Under, just by looking at the drum and guitar section in the beginning of the song. Notice that the time signature changes throughout the song, simply great and is the characteristic of progressive music.
Surrounded I will keep saying this in every review I make, Dream Theater is considered as a progressive metal band, but within that concept, they can make any style of songs with addition of some progressive elements. This concept was poured in Surrounded, which is not very progressive but still has some progressive elements in it. It represented in the guitar and keyboard riff in the song, which is not conventional.
Metropolis Pt.1 (The Miracle And The Sleeper) This is probably the best song of all time by Dream Theater, simply amazing and very progressive metal. The beginning of the song is great with heavy guitar and drum section. I would probably divide the song into two in terms of composition. It is true that half of the song consists of lyrics and another half consists of instrumental part. Notice that in the next album, there is an album called Metropolis Pt.2 (Scenes From A Memory). And also notice some words or songs in Scenes From A Memory was said in this song: The Miracle, The Sleeper, The Dance Of Eternity and of course Scenes From A Memory.
Under A Glass Moon Different with above songs, this time, Images And Words presents two metal songs consecutively. The odd time signature is very obvious in this song, which maybe confusing for some people who don't use to listen to progressive metal. On one guitar related website, it is said that Under A Glass Moon's solo is on of the best and most recognizable solo off all time. And it is true, the guitar solo is just great.
Wait For Sleep It is very possible that we cannot hear this song anymore in every Dream Theater concert; it is because the lyric and song was made by Kevin Moore, ex-Dream Theater. The song is just beautiful, simple yet profound, its just keyboard and vocal.
Learning To Live We can know that this is a progressive song by just listen at the beginning of the song, a somewhat strange (positive strange!) keyboard section. The section is then continued with odd time signature of the other instruments. The lyric was made by John Myung and is one of somewhat not to many John Myung's lyric. For me, the best part is the guitar solo.
Well in the end, I give 4.8 (5) stars for this album. The positive side of this album is the breakthrough of progressive metal albums considering not many bands (progressive) offering progressive songs at that time. It is also because the songs are beautiful in terms of musical composition and the lyrics. The downside of this album is James LaBrie sound, which is not very consistent throughout the album, from the song Another Day and Learning To Live, its very different, in spite of the different in musical style of the song itself. Timur Imam Nugroho - Indonesia
Posted Tuesday, May 16, 2006 | Review this album | Report (Review #78317)
Review by sleeper
Dream Theater are by no stretch of the imagination the first Prog-Metal band, but they are the most successful and to this day they remain the standard bearers of prog in the mainstream. And this is the album were it really all started: Images and Words. Yes its not their debut but this was the album that everyone took notice of for its blend of metal and prog by using complex arrangements and impressive musicianship, both mainstays of classic prog.
Its notable that the songs can be broken into three groups on this album: the more heavy metal type (Pull Me Under and Under A Glass Moon), the ballads (Another Day, Surrounded) and the outright prog songs (Take The Time, Metropolis Part 1: The Miracle and the Sleeper, Wait For Sleep/ Learning to Live). The more heavy metal style songs, though, contain some great musicianship as well as some memorable hooks in the music. They also flow well with the rest of the album so proggy or not they work. Some people consider the ballads cheesy, and I have to say that Surrounded certainly is the weakest song on the album but on its own its not that bad, little more than a 5 minute bridge between the great Take The Time and the spectacular Metropolis Pt1: The Miracle and the Sleeper. Another Day gets lambasted a lot for being very cheesy but, Petrucci has stated that this song was about his father, who at the time was suffering from brain cancer, this information puts the lyrics into a new light for me and makes it a very heartfelt song, even the saxophone solo works well with it.
The parts of this album that I look forward to the most is always going to be the longer, more prog songs. From the stunning musicianship, to the nice melodies and the truly stunning solos, wether they be by Myung, Petrucci, Moore or Portnoy. Wait For Sleep could possibly be mentioned as one of the ballads but it works with Learning to Live (Myungs lyrical masterpiece) so well that I (and even the band themselves) cant separate the two.
This was also the debut for the bands long time singer James LaBrie, taking over from Charlie Domanici. This was clearly a great decision for Dream Theater as LaBrie, though far more controversial than Domanici, is far more talented and tends to make perfect use of it.
This album is a masterpiece in my opinion, there is nothing that I would consider changing. Just as importantly this album ushered in a new wave of prog, the rebirth in the 90's were we saw bands like The Flower Kings, Spock's Beard, Symphony X etc, come to prominence and find a strong following. 5 stars for both its incredible quality and historical importance.
Posted Wednesday, May 17, 2006 | Review this album | Report (Review #78509)
Review by AtLossForWords
Outside of Metropolis Part II: Scenes From a Memory, a listener has to go back in '92 to find Dream Theater's most important album of their careers. By important I don't mean most musically amazing, but most important to the development of their careers, and more importantly their genre.
Back in '92 Dream Theater was having some difficulty acquiring all of the proper elements for the band, vocals being the most difficult. Dream Theater's two previous vocalists Cris Collins and Charlie Dominici not only failed to provide the proper vocal element for the band, but also failed to enjoy the music they were making in Dream Theater. The search for the right voice eventually became so difficult, drummer Mike Portnoy was planning to keep the band as an instrumental project which was favorable to the band's latest matierial now popularly know as Metropolis Part I: The Miracle and the Sleeper.
It wasn't until the band heard a demo from Canada from one of the world's most powerful yet unknown singers that a vocalist was found. James LaBrie a Canadian had the perfect voice for Dream Theater. He came to New York and likely saved the style of the band and helped start a movement and demand for the genre of progressive metal. LaBrie's contribution even changed the then instrumental Metropolis Part I into an almost ten minute epic featuring vocals.
Images and Words later became a gold selling album with vides for "Pull Me Under", "Another Day", and "Take the Time" (which is quite a progressive composition). Such video and sale success is rare for progressive metal bands, something which to this day Dream Theater has not matched. The album also has it's fair share of more progressive matierial in "Learning to Live", one of the most progressive compositions from any progressive metal band, "Metropolis Part I: The Miracle and the Sleeper", and "Under a Glass Moon", which seems have spread into the influence of many progressive metal bands like Symphony X.
James LaBrie of course is the greatest performing contributor on this album. Images and Words is not only one of the best vocal performances from LaBrie, but one of the best in the entire genre. LaBrie's voice is at it's peak. The vocal harmonies are taken many times for a variety of pitches making the vocal chordal harmony as complex as the instrumental chordal harmony. The range and power of LaBrie is unmatched at this time. LaBrie hits a wide range of notes ranging from low to high, just one song "Metropolis Part I" is an excelent testament to LaBrie's great range. The enunciation of the lyrics is perfect, something that can be quite hard to find in progressive metal. LaBrie's performance is top notch, hard to think of one that beats this album.
John Petrucci was not always the shear shred player he has become known as today. On Images and Words Petrucci's great technical skill is apparent in songs like "Take the Time" but Petrucci also impresses with a variety of melodies and overdubs all through the album. Whether it's fusion interludes in "Metropolis" or epic meldodis in "Learning To Live" Petrucci can impress a listener with all ranges of his guitar. As said earlier this album is a much catchier and melodic performance than those to follow.
John Myung delievers an oustanding performance. Metal bass playing has progressed so much since the release of this album. Myung moves the chord changes in the most unique ways with arpeggio and diatonic scale fills along with excellent rythymnic prowess for relaxed grooves. His funky side shows in the early minutes of "Take the Time". Perhaps Myung's most unique element to his performance is his tapping solo in "Metropolis", which has become one of the most easily recognizeable solos in progressive metal, and the most popular motif for tapping bass players of any genre.
Kevin Moore simply is the reason for a few compositions on this album. A song like "Wait For Sleep" simply would not have existed without the contribution of keyboardist Kevin Moore. What Moore seems to lack in overall skill he makes up for in creativity. Moore uses a wide array of synth sounds, but they seem to suffer from poor production. He uses some nostalgic analong tones on "Learning to Live", but much of his tones are unique exploring new synth sciences. His instrumental technique isn't poor, he can easily keep up with unisons in a song like "Metropolis", but his greatest skill is his ability to lay catchy yet musically unique melodies over instrumental sections in songs.
Mike Portnoy has a somewhat revolutionary performance on drums. Portnoy keeps to standard metal styles, but he adds an influence of Neal Peart of Rush to deliver some of the most complicated and elaborate fills to touch the metal genre. Portnoy's drums are all triggered, and I don't care for the triggered snare tone which sounds a little too poppy. Aside from the lack of pitch in his drums, he delivers a great performance. His bass drum abilities are out of this world, never blasting, but delivering speedy and tasteful kicks.
This album is a cornerstone to the development of prog metal, aside from that it delivers great music by some of the most skilled and creative musicians. A must have for prog and metal fans alike.
Posted Monday, June 26, 2006 | Review this album | Report (Review #82053)
Review by Moatilliatta
This is where Dream Theater really got it started. Keeping some of the 80s metal flare from before, but improving the songwriting, and the vocalist, we have the real beginning of an absolutely remarkable band. Images & Words is widely considered their finest work (or now second behind Scenes from a Memory), and was an inspiration to a lot of prog metal bands who popped up shortly after. This album, minus the debut, has the most 80s metal sound and feel to it. It hasn't quite worn off yet. Surprisingly enough, I can actually enjoy it. I really don't like 80s metal, but Dream Theater show here that it's not the style that's the problem (or the entire problem), it's who's playing it. I don't think I could stand much more than this album's worth anyhow.
"Pull Me Under" is the albums lead single, and a good one at that. Afterwards we have "Another Day," a cheesy power ballad, but while many write it off for that, I love it. It's actually a well written power ballad, and it's even got a Kenny G-esque saxophone in a few spots. I'm no Kenny G fan, but it's a nice touch to the song I suppose. "Take the Time" is my favorite song in the first half of the album. Lots of energy and what not. Dream Theater take metal music (then and now) and make it so much more than what is generally embraced by its fans. After "Surrounded," another nice 80s ballad (though this one more poppy), we have the second half. I can't praise the second half enough. "Metropolis pt. 1" starts the second half. Filled with themes and riffs that would be carried on into the brilliant concept album that came out eight years later. Incredible song. Then we have "Under a Glass Moon," another excellent song, featuring subtle intricacies in the songwriting that I adore, and one of my favorite Petrucci solos. "Wait for Sleep" is a nice piano and voice piece that serve as an intro to the closer "Learning to Live."
This album doesn't need too much explaining or details beyond what is already given. It's a brilliant album. As usual for the years to come, Dream Theater can play technically dazzling sutff without losing the material's emotional value. Far beyond your average metal; that's for sure. James LaBrie was a fine choice to replace the old vocalist Dominicci, and he definitely adds to the much improved musical quality of the bands music. From here on, Dream Theater would be wowing and inspiring millions, and rightfully so. They are so gifted, and they use their gifts wisely.
Review by Raff
Horrorshock! A myth crumbles... Renowned DT basher Ghost Rider reviews "Images and Words" and gives it four stars too! What is the world coming to?
Well, I may have many flaws, but I pride myself on being a fair person, who might not be the greatest fan of the New York quintet, but is nevertheless perfectly capable of recognising quality when she sees it. In my very humble opinion, "Images and Words" remains to this day DT's finest offering, one they've never yet managed to top. Yes, they've become more ambitious, in some ways more commercial, and they've reached planetary status among younger and even older fans. However, this album, now 14 years old, has a freshness and a novelty value that their later, more complex efforts do not possess anymore. This is the true act of birth of one of the most enduringly popular styles of Prog-Metal, in which the 'prog' component is noticeably stronger than the 'metal' one. Without I&W there would be no Symphony X, no Shadow Gallery, no Pain of Salvation, no Ayreon or other bands of their ilk. While this may be no great loss to many people (especially my contemporaries), I'm all in favour of variety, and I think there is a place for everything in the music world.
Though everybody knows I'm no supporter of technical prowess for its own sake (Prog's answer to Oscar Wilde's 'art for art's sake'), there's no denying that DT are masters of their instruments. This album also goes to prove that the band's greatest strength was the songwriting of keyboardist Kevin Moore,a more restrained player than the flamboyant Derek Sherinian, and a less technical one than Juilliard alumnus Jordan Rudess, though an undeniably sophisticated, tasteful composer. After him, the band's output became more over-the-top, with song lengths and instrumental complexity sometimes spiralling out of control. Here, instead, DT strike the right balance: even an overtly commercial song like "Another Day" does not disrupt the overall textural intensity of the album.
So far I've talked about instruments, not mentioning what is for many people the sore point of the band: James LaBrie's vocals. There's no denying that the man in question, like his band, has been the founder of a school of singing that numbers many followers; unfortunately, I only find him effective when impersonating that most unlikely of prog singers, Metallica's James Hetfield (check his performance on "Train of Thought"). When he reaches for the higher notes, I find him at best irritating, at worst positively unbearable. However, his performance on I&W is rather good, especially on the wistful mood piece that is "Wait for Sleep" (with great piano work by Moore); while on some parts of "Take the Time" I just wish he would shut up and let the others play.
With so many glowing reviews written before mine, I feel there's no point in doing a track-by-track analysis. "Pull Me Under", the band's best-known song, is quite catchy in its own way, though I find "Take the Time" vastly superior: the intro in particular is great. "Metropolis" is undeniably the most complex track from an instrumental point of view, with great performances from all the members of the band. On this album Portnoy's drumming sounds very clear and strong, though distinctly reminiscent of Neil Peart's in more than one instance (as a matter of fact, the Rush influences are startling at times). The album's standout track, though (especially from a lyrical point of view), is Myung's powerful, heartfelt "Learning to Live", where the bassist's remarkable skills can be clearly heard for once, instead of being swamped in the maelstrom of sound produced by the band. The song's coda is hauntingly beautiful, easily the most progressive thing on the record.
Even though I suppose I'll never become a DT fan, I&W deserves four stars for its undeniable musical quality - although, as I stated at the beginning, I feel its historical value is probably its greatest asset. Not really essential, but indeed an excellent addition to one's collection.
Review by OpethGuitarist
I would say the band's 2nd best album, behind Awake, even though it's getting the same number of stars. This is a very good album, with no real bad tracks. Although, the strong tracks on Awake are better than the strong tracks here, if that makes sense.
This album is often considered a highlight in the field of progressive rock, and it should. At the time, it was considered very groundbreaking and gave the band huge success. There's impressive playing all around.
The biggest thing that keeps this album from being extraordinary is the cheese factor. Too many of the songs, while complex, delve into minutes of extra unnecessary playing.
However, despite these bad remarks, a highly recommend the album. There are many very stunning and beautiful sections, like the verse at the end of Metropolis. It is an important album in the field of progressive metal, one that no fan of prog should miss out on.
Review by Australian
Progressive Metal has been labelled the third wave of prog by many people and it came at a point when progressive music was almost on its death bed. By 1992 practically everything had gone quite, the neo-prog scene was at a lull, and all the giants from the 70's were currently exploring the realms of popular music. When it seemed that prog was dead,in came Dream Theater with "Images and Words" (there were a few other very good albums which came out at around the same time) which would revitalise prog and give the band much popularity and fan base. Many people will deny this comment but Dream Theater has become the greatest American prog band (far) behind the all legendary symphonic band Kansas. So really we all should respect this album, even if you hate it with the fire of one thousand suns as one of my friends regularly says.
For me "Images and Words" was very boring and heavier than most things I'd heard before and I'd much rather listen to something I liked. Gradually, after many more listens I began to grow accustomed to the loudness (I'm hoping the same thing will happen with Opeth) and began to enjoy it. Its funny, I never think "Images and Words" is any good until I actually listen to it, it's like I subconsciously still dislike it. The first two songs on "Images and Words" have always been the highlights for me; I don't know why I just find them more interesting and easier to listen to. I know I like the saxophone in "Another Day", but in now realise it isn't much compared to stuff from Supertramp and Van Der Graaf Generator.
The opening of "Take the Time" has always seemed kind of stupid to me, but now I just overlook it and get to the good stuff, like the yolk in the egg.no, that's a band example, but you get my point. In "Surrounded" James Labrie really indulgences himself and sings out some good material. Surrounded goes up among the most classic Dream Theater songs from its sound, its just so.DT. "Metropolis, Pt. 1- The Miracle and the Sleeper" receives a lot of praise from people on PA, I've never though it to be that good but I guess it goes down to personal tastes.
"Under a Glass moon" and "Learning to Live" are probably the most progressive songs on "Images and Words." The intro to "Under a Glass Moon" sounds a bit like the start of Lunar Sea by Camel, lose the guitar though. Both a songs are classic Dream Theater numbers and receive many plays during tours by the band. Learning to Live is the better of the two as it is overall more experimental and has a distinctively "new" feeling.
1. Pull Me Under (4/5) 2. Another Day (4/5) 3. Take The Time (3/5) 4. Surrounded (3/5) 5. Metropolis - Pt. I "The Miracle And The Sleeper" (3/5) 6. Under A Glass Moon (3/5) 7. Wait For Sleep (3/5) 8. Learning To Live (4/5) Total = 27 divided by 8 (number of songs) = 3.375 = 3 stars
Good, but non-essential
"Images and Words" can really be thanked, even in a small way for the way it gave an all new creative spark to this great and varied music. I can see why so many people are attracted to "Images and Words" but, despite my first review of this album, I'm going to give this album three stars. I'd recommend Images and Words to the newer generation of prog fans.
Posted Thursday, August 24, 2006 | Review this album | Report (Review #88101)
Review by 1800iareyay
Following the release of the strong debut When Day and Dream Unite, DT found themselves without a singer and with a horrible label that did nothing to promote them. To keep themselves busy, the remaining four members wrote songs. the spent time on lyrics and figured out instrumentation. Then, they found Canadian James LaBrie, whose operatic style were what the band had been looking for. They managed to split witht their label and join Atco. Then the band laid down the tracks they had written over three years. The result ushered in prog metal.
"Pull Me Under" opens the album with a spooky guitar riff and synth. The rest of the band comes in hard and James establishes himself as DT's singer quickly. The chorus is a great hook and the solos are amazing.
"Another Day" is a personal song for Petrucci, but it's a bit melodramatic. However, it's probably DT's best AOR song.
"Take the Time" resumes the sonic pummelling with great vox from James and Myung's bass getting a workout. This is where things start getting proggy on the album, but it's just a taste of its later triumphs.
"Surrounded" has some interesting progressions but it's pretty dull. Petrucci's solo sets the stage for his licks futher along in DT's career.
"Metropolis Part I" is the undisputed highlight of the album. Everyone shines on this song, particularly John Myung and Mike Portnoy, who both give one of their best performances. A nine minute opus that feels so much shorter. This one song would be the basis for DT's magnum opus, Scenes From A Memory.
"Under A Glass Moon" has an addictive drum groove, and Myung pounds away at his bass. This song contains IMO Petrucci's best solo, as well as a standout performance by Kevin Moore.
"Wait For Sleep" eases off the throttle, and it's piano-and-vocals only compostion would pave the way for the far superior Space Dye Vest.
"Learning to Live" is a great way to close the album. Lyrically, it's one of DT's best. It deals with a man learning to adapt to life with AIDS. Myung shines on this track, but the other members also deliver great performances.
Images and Words belongs in any prog metal collection. This was my introduction to prog metal, and I've never looked back. The band's three year limbo resulted in the tightest DT ever was; each member complements each other. On later albums, the technical display became even more impressive but at the cost of feel. This is a high water mark in the band's career, but Surrounded and Wait For Sleep detract from what would have otherwise been a masterpiece. Highly recommended.
Posted Monday, December 18, 2006 | Review this album | Report (Review #103477)
Review by Chicapah
I have to admit that I've been systematically discovering Dream Theater's music pretty much bass-ackwards since finally experiencing the excellent "Scenes From A Memory" almost a year ago. But after being somewhat disappointed in their 1994 release "Awake" I was reticent to go back any farther into their catalogue, thinking that it was probably just more of the same (especially the shrill vocal work). However, my son gave me "Images and Words" for Christmas and I am completely blown away by it. I now deem it to be one of their best albums due to the incredible amount of thoughtful creativity and the high level of musicianship and production involved.
Deep guitar notes and Portnoy's rolling drums start "Pull Me Under" and instantly lay down a gargantuan atmosphere that sets the tone for the entire CD. A heavy metal wall of sound takes over as the beat doubles twice, leading up to a fantastic chorus that features an infectious cascading vocal. The song, like the album, never gets predictable. "Another Day" starts out beautifully and then lo and behold it's a soprano sax! How cool is that! I love it. The catchy melody and accompanying harmonies steadily build the tune without it ever becoming the stereotypical and hokey "power ballad" that was popular at the time. A truly noble song. "Take The Time" doesn't age well, though, and despite the interesting harmonies and hot guitar licks it tends to mimic the sound and textures made popular by groups of that era like Whitesnake. It's only a minor bump in the road, however, and "Surrounded" makes you forget it ever passed through your ears. The eerily haunting intro spills into a crisp, bouncy melody that drives us upward to a fascinating guitar break that can best be described as unique. The song comes full circle to the way it started with a deep, mysterious atmosphere. "Metropolis" is a monster. A true epic. The middle section is a well thought out series of drum-fueled riffs that create a kaleidoscope of musical colors that make your head spin in an effort to keep up. It is a highly energetic but incredibly tight and precise composition. "Under A Glass Moon" has a heavy Pink Floyd feel in the opening chords but soon amps up to a powerful, mechanical rhythm. Halfway through the band takes the listener along a twisting path of fascinating syncopation that is breathtaking, paving the way for some colossal guitar by Petrucci and stunning keyboards by Moore. After that sprint one can use a breather and "Wait For Sleep" is perfectly placed here. It's a simple but gorgeous ballad and LaBrie's voice is terrific and effective when he relaxes like he does here. "Learning To Live" finishes out the album and is one of its best cuts. Myung's moody bass lines shine, laying down an enigmatic foundation before the drums enter with a metallic shuffle. A very inventive chord progression draws us inexorably farther until reaching a sheer drop back to the initial feel once again. An acoustic guitar passage changes over to fierce electric riffs before a striking staccato piano draws us into an unexpected jazzy swing interlude. Then the song fades out to Portnoy's frenetic drum patterns as a chorale of vocals overlays everything. I know, it sounds rather crazy, but it just may be their most adventurous song ever. All I can tell you is that it works quite well.
I had no idea these guys were so good from the get-go. It seems a travesty that I didn't even hear of this album until fourteen years after its release but I guess these boys have just always been forced to fly under the music biz radar. Hopefully this review will convince others who might have been put off by the unrelenting ferociousness of some of their earlier works (especially LaBrie's screamy vocals) to invest in this album. It is, in a word, great. 4.4 stars.
Posted Wednesday, January 3, 2007 | Review this album | Report (Review #105350)
Review by russellk
I find this a difficult album to review. It is generally considered as one of the touchstones of progressive metal, and any review must acknowledge its position in the development of the sub-genre. But the primary outcome of this album was not an addition to the variety of progressive music, but to its popularisation.
So what makes this DREAM THEATER album so popular? It combines technical virtuosity with accessible songwriting. Straight metal numbers interleave with power ballads and more complex tracks for an enjoyable hour's listening. It has drawn an extraordinary number of people into the progressive rock fold. Thus the high rating, even though I personally find the music less than inspiring.
Five-star albums provoke powerful emotions: shock, drama, delight, beauty, respect. Many DREAM THEATER tracks deliver these emotions, but only one of them ('Metropolis Pt 1') is on this album. Every song is professionally played (these musicians are some of the best in the rock world) and produced, none disappoint, and none of the gaucheries perpetrated on other DREAM THEATER albums can be found here. But, in the end, I find this album slightly underwhelming, with no moments of compositional brilliance.
This is one of the albums to lend to a friend interested in exploring progressive rock. I've done so; but I have to admit I'm not in a great hurry to get it back.
Posted Saturday, March 10, 2007 | Review this album | Report (Review #114747)
Review by Prog Leviathan
A solid recording of memorable songs performed by a brilliant band still very much in their infancy, "Images and Words" is as fun to listen to as it is important to the bourgeoning prog-metal genre.
Every song is a classic in their library and well written, showcasing the developing talent of the group and demonstrating that they are a cut above their peers. However, early Dream Theater still has much in common with the more conventional metal music of the time, which seems to be where most of the complaints about this album come from. While distinctive, this album's sound is still very straight-ahead metal, and won't please fans who don't appreciate hard-rocking. For those of us who do, Dream Theater is undeniably the best "gateway" band into the world of progressive rock-- and this album will likely hook most who listen.
Great melodies, tremendous solos and instrumental passages, smart writing, and of course the soaring voice of James LaBrie make this one a hallmark from the early genre.
Songwriting: 4 Instrumental Performances: 4 Lyrics/Vocals: 4 Style/Emotion/Replay: 5
Posted Saturday, April 21, 2007 | Review this album | Report (Review #119206)
Review by Mellotron Storm
Among the bands they thank are WATCHTOWER, Bruce Dickinson, and as they say in the liner notes "FATEZ WARNING (Jus' kiddin' !!)". They do have a sense of humour. This was such a ground breaking album, not only making this band famous, but at the same time drawing a lot of fans into the Prog genre. Because of how influential it was I have to respect it, plus there's some great tracks on here.
"Pull Me Under" certainly won over a lot of Metal fans and gained them exposure on MTV. The riffs, drums and vocals are all fantastic ! Check out the blazing guitar solo 6 minutes in. An amazing opener. "Another Day" opens with some tasteful guitar solos and they come back later. This is a ballad-like tune at times with lots of relaxed sax and mellow vocals. "Take The Time" has it's moments but it's a little inconsistent for my tastes. Too poppy I guess. "Surrounded" starts off sounding like a sappy ballad. Yikes ! Fortunately that changes as the song plays out. "Metropolis-Part I" features some absolutely amazing drumming from Portnoy.This song really shows off the skills of each member of the band. Great song !
"Under A Glass Moon" has some heaviness and the drums are upfront. Some scorching guitar solos as well. "Wait For Sleep" is a ballad with some beautiful piano melodies from Moore. "Learning To Live" is another incredible tune. So many changes in tempo and the riffs, synths and vocals all shine. I was reminded of RUSH when I heard the synths late in the song.
This was DREAM THEATER's second record, and their first with new vocalist James LaBrie. I enjoy the follow up works "A Change Of Seasons" and "Awake" more than this one. Still I have to give this 4 stars because it is an excellent addition to your prog collection and it was pretty ground breaking at the time. The first song and the last four are amazing tracks.
Posted Wednesday, May 9, 2007 | Review this album | Report (Review #121457)
Review by b_olariu
The beginning of modern progressive metal lies in "Images & Words, and i have no words to describe such a masterpiece, with all that i'm not a big Dream Theater fan but some of their works appeal more then others. Heavy, progressive, extremely innovative and technical, every musicians as a high level and the result of the compositions are amazing. After When dream and day unite, a misslooked album in many stores around the worl in that period, thay come with the second album and what a change over the first, musicaly speaking. Every instrument is flawless, James LaBrie is in his own here and is clear that the vocal parts are superb. What to add that is a 5 stars album and one of the most important albums in prog genre. All tracks are forte. Although my enthusiasm with this band has faded out a bit over the years, because they released some mediocre albums in the early 2000 but this disc is still a classic and the best they ever done along with Scenes from a memory. 5 stars for sure
Posted Thursday, June 28, 2007 | Review this album | Report (Review #126980)
Review by SoundsofSeasons
My favorite of the Dream Theater albums. It just works for me i suppose, i never liked the really hardcore and grundgy stuff, so this lighter and happier Dream Theater is a nice change for me. I also think that every song in the album is great to absolutey mind blowing, like Metropolis Part I. Also I really like James LaBrie's voice in this one, that IS saying something considering he is ALWAYS the cause for at least one less star on Dream Theater albums. His voice is actually soothing in Images and Words and the notes sound pure and fully drawn out, so finally he's caught up with the level of skill of the rest of the band. Of course the funny thing is it was a long downward landslide from there, cause pretty much gotten worse with every album since with few exceptions.
So Images and Words. The landmark album for progressive metal, and rightfully so! Any prog metal fan MUST own this album. Besides them, any prog fan period should be able to find enjoyment from this album, even if you really don't like Dream Theater all that much.
A Masterpiece of Progressive Rock ... and more specifically progressive metal
Posted Monday, July 23, 2007 | Review this album | Report (Review #130014)
Review by Dim
This albums rating might be a bit detered beause of my disrespect for speed metal, but there are some songs that are just gut squeezing gross IMO. Songs like Another day, take the time, and Learning to live are drawn out hair metal songs, and Pull me under is not that good either. Some people may ask me why I dont like learning to live, which may be considered the magnum Opus of the album, but the lyrics are just rediculusly dumb, and all the instrumental sections, including fills, solo's and jam sessions, remind me of poison or some other pop group.
The ultimate downfall to this song is the drums! For a prog God like Mike Portney to be so praised for this album disapoints me. His drumming is SO OVERPOWERING, that even the softer parts are ruined, non stop fills and double bass, way to much treble on the kick, and just over all ego, is ruining the songs. Otherwise, I'm very pleased with Petrucci, who is not completely overblown on this album with real slo's and real riffs, well thats up for debate. I dont even want to tap on the whole LaBrie subjest though.
The only two exceptional songs on this album are of course, Metropolis part one, and under a glass moon. Very good musicianship and well thought out lyrics.
2 **
Review by Prog-jester
Can you believe “Pull Me Under” was a huge MTV hit?..
Yes, it was! With “Images and Words” DT proved that they aren’t another one-shot wonder, they’re alive and doing well! Touching “Another Day” ballad was another top song, and amazing 9-min long epic “Metropolis” not only became an encore favourite till now but an introduction to another story…Band sounded extremely well, complex, but never too bombastic and over- technical, sometimes balancing on cheesy Neo sound ;). “Images and Words” as well as “Hybris” on the other side of Atlantic (but with a lesser success) proved that Progressive Rock hasn’t died yet – no place for flowers, let it live! I remember the first time I borrowed this one along with “Awake” and SFAM from my daddy’s friend 5 years ago. I’ve got used to them pretty quickly and wanted more of that kind. He-he, I didn’t know at that moment that I already had listened to DT’s best albums!!!
Best tracks: “Pull me Under”, “Take the Time”, “Metropolis”, “Wait for Sleep/Learning to Live”
Best moments: “Pull Me Under” coda, mid-part in “Metropolis”, final part of “Learning to Live”
Posted Wednesday, August 22, 2007 | Review this album | Report (Review #134155)
Review by ZowieZiggy
Such a wild opening number provides sufficient hints about the extreme power of this band. Unmatched, I guess. The lead vocalist has changed, but unlike other reviewers I quite liked Charles Dominici on the first album. Of course, James is great. But Charles was very good as well.
What makes Dream Theater really different from other metal bands, is there ability to switch from the most violent theme to a beautiful rock ballad. This is the contrast between "Pull Me Under" and "Another Day". Quite different, these songs. But even "Pull..." has its melodic instants but it will be for this impressed wall of sound that this number is fascinating. The second best of the album.
"Take The Time" is also an amazing song. It changes drammatically from mood after half time, when the band starts with these crazy beats and great guitar play. These are to knock you down. The same sort of paradox will lead us to "Surrounded". Another rock ballad like the band has the secret for. Of course, this won't be a soft ballad. The beat again will speed up and generate a great rock song. LaBrie will show all of his talent in this song : soft voice (almost croony) in the first part and high-pitched and so typical in the second one. And a tranquil finale to cool down.
The introduction of "Metropolis" is an experience that each of you would need to go through. The rhythmic section is just outstanding. Listen to this drumming ! And the so special sound of Portnoy drum kit. Still, I am not too much over-enthusiast about this number. Too much alike. Only the final part really kicks me.
Once "Under a Glass Moon" arrives, the same feeling I had during their first album strikes again : this is a bit too much of the same music. The short "Wait For Sleep" breeaks this feeling. An acoustic moment to interrupt the wildness available from track one.
The closing number is the longest song from this album. It is also a different song. Very well constructed, I must say. Almost sweet (by Dream Theater standards) and long intro with a passionate LaBrie. Little by little the tempo catches up and the heavy metal riffs get in after three minutes. As a nice flow, actually. This is the most elaborate song of the album and also my fave. Probably for this reason. The most "prog" song from this album. The closing part is gorgeous.
As far as progresiveness is concerned I think that LaBrie said once that Dream theater was a metal band with some prog elements. I guess that this is the best definition of their music. Nonetheless, this is another good album from the band. Three stars (although "Learning To Live" deserves five).
Posted Wednesday, September 12, 2007 | Review this album | Report (Review #137902)
Review by progrules
The album starts with their classic Pull me under. It's the song they play (almost) every concert. A compelling song that brings you right in the mood. The second is Another day, probably the best ballad they ever made. It's followed by Take the time, another great progmetalsong. The next is another ballad: Surrounded, good but less than Another day The 5th is Metropolis, the song I noticed becoming more and more popular over the years both with the band as with the fans and rightly so ! Under a glass moon is a good song but compared with the others one of the lesser. Wait for sleep is a short ballad, a nice in between. The last is my favourite: Learning to live. The most progressive of this album and the best composition.
A prog metal classic of the highest order, have to give it 5. (4.75)
Posted Thursday, September 20, 2007 | Review this album | Report (Review #139261)
Review by Tarcisio Moura
It磗 not easy to talk about an album that really started a whole new genre. Ok, there were other bands before that started the mix of metal and progressive, and it goes as early as the 70磗 (like Kansas in Point Of Known Return) or the 80磗 (Iron Maiden磗 Seventh Son Of A Seventh Son), but clearly they were eithera Prog band with some heavier moments (Kansas) or a metal band that has a prog influence (Iron Maiden). Dream Theater on the other side was hard to label.
Images and Words was the first real album to be called prog metal because that what it really was. The formula, no matter how many groups before had laid the basic foundations (Queensryche, Fates Warning, etc>) has finally reached a point were you could no longer consider it prog or metal. It was both. A new genre was born. And this album is its most perfect exemple, even by today磗 standards. It was a great feat, specially if you remember It was only Dream Theater磗 second release (and the first with the great James LaBrie on vocals).
I won磘 go track by track on this album, because this is the kind of CD you have to hear to believe (but, please, with no prejudice!). From beginning to end a perfect album that many bands try their whole career to record to no avail. Everything works here: the musicanship is perfect, the songwriting is superb and the production is absolute amazing. Never again Dream Theater would reach such perfction that included simplicity, melody, skills, technique, inspiration, delicacy, energy and guts. So what? Even if they had broken up after this one, they磀 had made their names in the prog music history. And, believe me, they did quite few albums after Images And Words (some even excellent like Metropolis). But their sophmore release was truly their finest hour ever.
One of the few albums that stabilished a new era in prog music. An absolute classic. And a must have for any proghead that does not limit himself to traditional 70磗 symphonic sound.
Posted Tuesday, October 9, 2007 | Review this album | Report (Review #143050)
Review by UMUR
This is still my favorite Dream Theater album. When ever I am feeling down or I need to lift my spirit I can put on Images and Words and I磎 feeling fine. This is after all these years still one of my favorite albums of all time. Don磘 be shocked when I will call this a progressive masterpiece and give it 5 stars.
This was my first meeting with progressive metal ( the softer style, I had listened to Atheist before this) and I was in awe but at the same time I was confused as James Labrie was a little to pop/metal for me at the time. But after many listens, I fell in love with Dream Theater and I played this album over and over again. This album never gets old on me and I can always find new things I haven磘 heard before.
Dream Theater磗 music is a mix of many genres from Thrash to Pop and everything in between, but it is all blended together to make that signature Dream Theater sound.
There is not one note on this album that is not godly and allthough you can hear easily some of their sources of inspiration ( Rush, Queensryche, Kansas and others) it磗 not copying.
I remember being awe strucken by the fact that these guys had such a high musical standard, and me and my pals idolised them like the teenagers we were. But to this day I still haven磘 found any other album were I enjoy the high standard so much.
The production is rather special and in particular the drums sound like they are half electric which might be the case. But I find it perfectly suiting for the music.
This album has what I think many of the later Dream Theater albums lack: Lots of melody and controlled comlex playing that is complex yes but melody is never sacrificed. This is partly because of Kevin Moore磗 presence in Dream Theater. I love his keyboard playing as it is so soft for the ears, very pop like ( Comlex Pop.
I can only say that if you haven磘 heard this one yet, go buy now, leave your wife and children, but you have to have this album. It is a masterpiece.
Posted Saturday, November 10, 2007 | Review this album | Report (Review #149861)
Review by ProgBagel
Dream Theater - Images and Words 5.0 stars
Incredible, stunning, brilliance, nirvana.these words are not strong enough to describe the power of this album. These songs were written during one of Dream Theater's toughest times where they attempted to hold down full-time jobs and do what they love most, to make music. Their dilemma was that they were more or less forced to work in basements and yet they were able to craft this masterpiece. The songs really came from the heart on this album and they gave it everything they had.and succeeded. Charlie Dominici was removed from being the vocalist for Dream Theater and James LaBrie stepped in. James was able to do what Charlie couldn't.sing higher and use his range to the max. All the songs were written as instrumentals before James came aboard. This album has what a listener should always want.the rockers and the epics.
'Pull Me Under' is the first song on the album that was a huge hit although it was not regarded as the best by the prog community. It's has a wonderful intro with some nice metal riffs in the verse and some clean ones in the chorus. Unlike the first album.the drum work by Mike Portnoy has drastically changed for the better.
'Another Day' is a wonderful ballad. The track starts off with a clean acoustic guitar and piano duet, followed by a short but powerful guitar solo. The song is slow and also features a saxophone.it was very nice to hear Dream Theater do something experimental but they have unfortunately stopped this practice for the majority of their career following, The symphonic work on the synth is great throughout the song. You will also get a real good treat from Petrucci, the guitar solo is stellar.
'Take the Time' is another interesting track. It begins with a cool intro with an awesome solo by Moore. Right after that the song gets into a real 'funky' vibe. To me, this is Dream Theater's first true 'progressive' song. I can't really describe this track as it reached tons of boundaries and word would only do it injustice. You can hear the Yes, Metallica, their own signature sound and everything in between. This ends with another incredible guitar solo that fades right out (why???).
'Surrounded' is probably one of my favorite tracks by Dream Theater. Ironically this one is regarded as just filler by a lot of people. The track begins with a very symphonic intro by Moore and pleasant singing by Labrie.and explodes into a full Rush inspired rocker! The song just kicks ass and has one of the best Petrucci solos.
'Metropolis, Pt. 1: The Miracle and the Sleeper' is a fan favorite. I'll have to admit the song has worn off on me, but that could be because I spent a while learning it on my guitar.a long while. Anyway, the instrumentals are very powerful in this piece. The drumming is bombastic and you'll get two great guitar/keyboard solo's that are then followed by an intense build-up to the outro.
'Under a Glass Moon' is another great rocker track. It sounds like a mix of most of the previous tracks on this album, which isn't a bad thing at all. What stands out the most is the guitar solo. It is by far one of Petrucci's most 'virtuosic' solos. I still can't understand how he does it.
'Wait for Sleep/Learning to Live' are complimentary pieces. 'Wait for Sleep' has one of my favorite keyboard intro's of all time. very pleasing to the ears. It is the only voice and piano duet but still holds its ground as an outstanding track on the album. 'Learning to Live' is a nice 11+ minute epic. The pace is everywhere too.it's slow and melodic at parts, then fast and mind-blowing so at others. You'll get some of the best guitar and keyboard solos ever.then it just cuts back to the 'Wait for Sleep' keyboard line and then brought right back into the song in the direction it was originally going. An extremely well thought- out song, if I may say so.
I'd have to tip my hat off to Dream Theater with this album, it was a beautiful experience and still well over a decade after its release it still sounds as fresh as ever. Dream Theater is at their best here and Images and Words is my most recommended album by them. Next to 'Close to the Edge', this is my favorite album of all time. They damn well deserve it too. 5 stars.
Sources - "Score" DVD and dreamtheater.net biography.
Posted Wednesday, December 5, 2007 | Review this album | Report (Review #154423)
Review by Tapfret
FORUM & SITE ADMIN GROUP Eclectic/PSIKE/JRF-Cant Teams
Prog-metal standard
Sub-genre: Progressive Metal (strong fit)
For Fans of: Fates Warning, Queensryche, Metallica
Vocal Style: Hair metal vibrato galore
Guitar Style: Crunchy distortion power chord mayhem with speed picked solos.
Keyboard Style: Multi-synth patch and midi-piano
Percussion Style: Metal set, lots of double bass. Occasional funky flurries
Bass Style: Standard metal picked
Other Instruments: None
Summary: Dream Theater's second LP introduces several new things for the band. The most prominent is the addition of rangy, wailing vocalist James LaBrie. Rangy may be a bit to flattering as anything below a high-mid-range seems to escape Labrie's grasp. Also obvious was the huge improvement in recording quality over their debut,When Dream and Day Unite. These two elements had the trickle down effect of allowing the band to explore a more contrasting lighter sound. This in turn created a more "radio friendly" gateway to the album and the first nationwide airplay with Pull Me Under, and soon after Take the Time. It also opened the door to what I refer to as the "cheese variable", when bands try to balance a falsely perceived technical coldness with formulaic pseudo-emotion, as exemplified by the yawners Another Day and Surrounded. The latter of these two songs has much to offer in instrumental proficiency, but goes way overboard with syrupy themes, while the former is really nothing more than a hair metal ballad. They were harbingers of material to be released in later, less enjoyable releases.
On the other hand, the album contained 4 brilliant pieces, Metropolis - Pt.1, Under a Glass Moon, Waiting for Sleep/Learning to Live, and the aforementioned Take the Time. Each had the meat and potatoes of strong metal sound, technical tenacity and progressive structure and ideology of '70's greats like Yes and ELP. Metropolis - Pt.1 was most certainly the most important of these as it was the forbearer of their masterpiece album, Scenes from a Memory.
Final Score: This is an undeniably important album in the evolution of prog-metal, for better or worse. This album is at the apex of tech/extreme, trash metal, progressive rock and hair metal. Through much of the 90's it was the litmus test by which other progressive-metal was measured. The sub-genre gained a semi-mainstream voice (unless of course you bought into the Queensryche thing). It is, whoever, separated from masterpiece status by a couple of slices of cheese. 4 stars
Posted Tuesday, December 11, 2007 | Review this album | Report (Review #155114)
Review by Easy Livin
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
Metropolis found
Released some 3 years after their debut, "Images and words" is Dream Theater's second studio album. In the intervening period, original lead vocalist Charlie Dominici was sacked in 1989 after a gig in New York opening for Marillion. Steve Stone was brought in as his replacement, but his stay was very brief and did not include any studio time. James LaBrie, the band's current vocalist, was then recruited for the recording of this album, the rest of the line up being unchanged.
The album opens with one of the band's strongest and most popular numbers, "Pull me under", a perhaps surprising hit single in some territories. LaBrie's now familiar vocals immediately sound totally at home in the Dream Theater environment. There is a strong Iron Maiden feel to some of the passages, but instrumentally, Dream Theater tend to add an extra dimension to their music.
"Another day" was another single from the album. This is really an AOR melodic rock piece, complete with some fine soprano sax. The song may not suit the dedicated prog metal fans with its symphonic instrumentation, but for me it is one of the finest things they have ever done.
"Take the time" is the first of several less impressive songs. This rather rambling, directionless number is not actually bad, it just fails to make any great impression. "Under a glass moon" is another example of this.
"Surrounded" begins as another softer track, the second in four tracks, with some tasteful guitar and vocals. Even when it becomes a more orthodox Dream Theater piece, it retains something of a reflective feel. "Wait for sleep" maintains the melancholy, reflective atmosphere which prevails for a surprisingly significant proportion of the album.
The centre piece of the album is "Metropolis - Part 1, The miracle and the sleeper". This is of course the reason why the subsequent album is called "part 2", something which puzzles those unfamiliar with the band, who seek an album called "part 1". The heavy riffing and solid rhythm section cannot disguise what is for me another rather rambling track, which jumps around from theme to theme, but lacks depth. "Learning to live" is a similar track of considerable length which appears to offer all the right ingredients, but flatters to deceive.
In all, a decent album when we bear in mind that the band was still in its early days. For me, there are too many tracks which are unfocussed for this to be any sort of classic, but there are a few which make it a worthwhile listen.
Posted Wednesday, December 26, 2007 | Review this album | Report (Review #156640)
Review by The Pessimist
Wow... what a fantastic album. Also qualifies for a great rock album as well as a piece of progressive genius. The highlights of the album are by far Pull Me Under, Take The Time, Metropolis Pt. 1, Waiting for Sleep and Learning to Live (LtL being my very favourite). Surrounded and Under a Glass Moon are average to good and Another Day is a typically good piece of cheese that is only really enjoyable for the first 5 listens.
Musicians wise, I think that Petrucci and Moore and Myung are at their peak, while Portnoy and LaBrie have yet to reach their's in the later albums Awake and Six Degrees of Inner Turbulence. Petrucci for his work in Pull Me Under and Learning to Live, Moore for his work in Waiting for Sleep and LtL and Myung for his fantastic bass playing in Metropolis. All round however, stunning musicianship.
Overall scores:
1. Pull Me Under - 9/10 2. Another Day - 6/10 3. Take The Time - 8/10 4. Surrounded - 7/10 5. Metropolis - 10/10 6. Under a Glass Moon - 7/10 7. Waiting for Sleep - 9/10 8. Learning to Live - 10/10
[b]4.25/5[/b]
Posted Saturday, January 5, 2008 | Review this album | Report (Review #157757)
Review by JLocke
This is Dream Theater's debut album. No, not their very first record ever released, but certainly the one that got them recognized by the general pubkic. The first single of the album, ''Pull Me Under'', became a huge success literaly overnight, and the five young men were launched into heavy touring, numerous record sales, and the first group of an ever-growing, dedicated fan base. Fast-forward to now, and you can see the many different directions the band has gone since this album, yet many of the Prog Metal die-hards out there still consider this to be Dream Theater's most influencial and crucial album to the genre as a whole. So, the question is, what makes this album so special? Furthermore, does it live up to all of the hype? In my view: yes, it does. This album is certainly good even now when compared to the five-piece's later efforts, and while it is still debatable as to whether or not it is their best, who can deny that it is the album that put Prog Metal into the forefront of the public for a whole new generation to discover?
''Pull Me Under'' is the album's opening track, and despite its length (over eight minutes), was the song that started it all for the DT boys in terms of fame and fortune. Unfortunately, it would be the only single and/or music video to really make it big for them for many years to follow. It begins with a very airy, almost surrealistic guitar riff provided by John Petrucci, and is soon accompanied by Kevin Moore's psychedelic keyboard sounds. The song continues to build, and after a short while, the distorted guitars come in full force, playing a truly metal riff, and Mike Portnoy then reveals his echoing, powerfull drumming for the first time on the record. Things go on like this for a little while longer, and already it is apparent to anyone with a half-decent ear for music that these guys are a very tight act, with some of the cleanest, most exact accuracy a metal band has ever displayed. The guitars are indeed distorted, yet you can still hear distingtively what chords he is playing without struggle, and then we hear James LaBrie's vocals for the first time ever in DT history, and let me say that this man can sing! I know many people have complained about his voice, but as far as I am concerned, he is the best Prog Metal vocalist of this generation (before and AFTER his vocal rupture, by the way). John Petrucci's solos on this song are very tasteful and don't go on too long at all. The music found on this entry really feels like it has a point, and instead of just being a really good technically-proficient act, Dream Theater proves on this album that they were, at least at one point, true ARTISTS, because everything on this song, and all the songs to follow, feels like it has a purpous for being there, rather than simply being drawn out to pass the time. The choruses here certainly aren't the strongest in their career, but the song is good enough to stand on it's own as a heavy rocker, without being considered a 'progressive' song, exactly.
''Another Day'' is a very mellow power-ballad, basically. Nothing wrong with it, really. In fact, it's quite nice, but the only thing really progressive about it I suppose is that it is suprisingly soft and maybe a little too 'pretty' for most traditional metal releases, but since this is prog metal, it doesn't seem out of place. The sax work on it is also very colorfull. The keyboards are also there to give the song some majestic orchestra work, and unlike what the keyboards would do later in Dream Theater's career, they simply create an atmosphere and aren't too out in front. This is almost surely do to Kevin Moore's inclusion in the band at this point, as the real key 'wizard' was one Jorden Rudess, who would not join the band until three albums later. Moore does a very good job of keeping the over-the-top nature of his instrument to a minimum, and while apparently the Dream Theater guys didn't like that, I find it much more fitting for them, since they already have a virtuoso amongst them with John Petrucci. Two of the same breed sometimes makes the music seem too busy, but luckily, since they had a much more reserved keyboardist on this album, the mood isn't lost. Great track.
''Take the Time'' Is the first real exhibition of the band members' playing capability, but once again, nothing seems to get too out of hand, and even the really fast virtuostic work fits within the context of the song as a whole. I rather like ther song's opening, which starts out with John Myung's short but sweet bass hits, then Kevin Moore's sounds compliment the odd time signature before the entire band comes blazing in. James LaBrie's voice on this song is especially nice, and he sings some of the best melodies on the record. There is a musical interlude, which features Moore's real first moment of fast- playing, and he keeps it tasteful, with an actual tune accomyning it, and not just mindless wankery of scales being played over and over at lightning speed. Following that, Petrucci breaks out some really great guitar rhythms that get stuck in my head for a long while after I listen to this track without fail. The song quiets down, but then comes back for one last burst of energy, bringing out the lyrics ''Find all you need in your mind, if you take the time!'' Petrucci then plays his fastest solo yet, but it still rocks without seeming like soulless speed-playing.
''Surrounded'' is the album's softest, and most beautiful song. Clean piano work backs singer LaBrie, starting slowly at first, then slowly picking up the pace, which introduces a very beautiful guitar melody plays artfully by Petrucci. ''Let light surround me'' James sings as his musicians produce incredibly moving music all around him. This song isn't much longer than it's mellow predecessor, and clocks it at a nice five minutes and thirty seconds.
''Metropolis Pt. 1: The Miracle and the Sleeper'' is the only track on the album who's storyline is actually a 'theme' in the traditional prog sense, although I'm not too sure how much about it even the band members themselves knew at the time. It would be fully realized in the form of a complete full-length album later on in their career, SCENES FROM A MEMORY, but I will review that album at a later time. All you need to know at this point is this . . . the song is epic. Truly. However, I personally think the odd time sigs and unconventional lyrical structure is a bit too frequesnt in this particular track, and as a result always have a difficult time sitting through it all. That could change over time, though, as each time I listen to it, I appeciate it a bit more. (This is most likely due to the fact that I now know the full story from listening to the SCENES album, so can now understand this track better). Some things to note: okay, well, John Myung plays a very good bass solo in this song, and it is often referred to in high regard by the bass player proggers out there, and with good reason. Also, a really cool rhythm introduced here near 06:26 into the song that is reprised later on the SCENES FROM A MEMORY album. Well, others are as well, but that rhythm in particular always jumped out at me as particularly unusual and interesting. This song does tend to go on a little too long in my honest opinion, and this is really the closest to the later, more pompous Dream Theater stuf the album ever gets, but you can definately where the band is headed at this point in their career, and it only got more ridiculous and frilly as the album progressed. Overall, though, this is a very nice track, and if you like that kind of thing, then maybe later Dream Theater is right for you; it just doesn't always suit me particularly well.
''Under a Glass Moon'' - Really nice track, I like this track alot. Enough fast stuff to satisfy the elitists, but enough good old fasioned rhythm and beat to satisfy more straightforward metal fans. Myself leaning more toward the latter of the two forementioned groups of listeners, this is heaven for me to listen to. There is even some clean guitar work to be found here, which mixes things up a bit. Usually I have found with this band, it's either one or the other, so when a song has both soft and heavy in it, I am particularly pleased. At the four minute mark, the song becomes a battle between guitar and keyboard, resulting in a very head-boppy beat that always makes me smile. Petrucci not long afterward breaks into a really dreamy solo that once again shows that he is capable of more true artistic expression than he seems. I just wish he would do more real music playing like this nowadays.
''Wait For Sleep'' is pretty much an intro for the following track, ''Learning to Live'', but still has enough unique aspects to be talked about as a seperate track. Well, the piano playing is supurp here, and LaBrie's singing is top-notch as usual, with some really atmospheric strings being thrown in for good measure. Really moving song. Also the shortest track on this album, finishing up at only two minutes and thirty-one seconds.
''Learning to Live'' - Forget 'Metropolis''; THIS is the epic track on the album, taking so many interesting turns that it was what made me a Dream Theater fan. It was the first song by them I ever heard, and my jaw dropped when I first heard it, and it is still my personal favorite song of theirs. It begins with some epic keyboard work from Moore, then Portnoy comes in, and soon the entire band comes in stronger than ever. Everything here is very consise, and I get the feeling that this was the track the band worked hardest on to get 'right', but I could be very wrong about it. Whatever the circumstances, this song has the best vocals, melody, instrumentation, and lyrics. It's a true shame that John Myung no longer writes lyrics for the band, because he is by far the best at it out of the group. Truly a poet. I will give you a hint what this song is about: this causes everyday lives of people to completely turn on them, and ultimately becomes very cruel at times. The subject matter here is unusually deep for this type of band, but then again, Dream Theater would prove later on that they weren't just about the bright, sunny side of metal, and could crank out the heaviest riffs imaginable as well. Not on this record, however.
Once the first real shifting of gears takes place, we are treated to once again some truly beautiful guitar work from Petrucci, first playing very mexican-style diddies, then becoming almost a force of his own, building up the epic feel of the song. What happens next still gives me chills to this day: James LaBrie delivers his finest vocal performance ever, followed by John Petrucci's greatest guitar solo I have ever heard, and it always fills me with hope and pleasure as I listen to it. It is a true shame that (in my view) neither one of these men ever quite got to that point ever again, but at least they did get there at some point, for had they not, many people would have been missing out on one of prog metal's finest hours. The song once again dies down, and Myung delivers yet another great bass solo, leading up to the final encore of the song, which has Petrucci playing some truly haunting riffs on his guitar, while LaBrie sings open notes in the background. This continues, along with Portnoy's mammoth drumming, as the song fades out, concluding the album.
Please keep in mind that everything I have gone over in this review is merely a quick observation, and by no means gives away all of the goodies that are awaiting to be discovered on this truly milestone of a record. If you like either Yes, Rush or Sabbath, I would suggest giving this album a try, as it incoorperates elements from all three of those bands and more in a very successful way that was never quite matched again. This does not mean that it is Dream Theater's best per say, but it does mean that it had the best marriage of all of the different genres that could appeal to many different people. I think later releases of theirs should be avoided until after you have listened to this album first, because after this, the band became much more focused on the virtuostic side of their music, and much less focused on, well, the music. I will not tive this a five, because I think they have done better progressive work, but this is probably their most accessible (aside from FALLING INTO INFINITY), and serves as a great introduction piece for anyone interested in them.
Posted Friday, February 8, 2008 | Review this album | Report (Review #161322)
Review by horsewithteeth11
While still on the heavy side of progressive metal, this is easily an album someone who doesn't like metal at all could still get into. An album that was only topped by DT's concept album, Scenes From a Memory, this is a great place for someone who's never heard DT to start from (although that may be because I'm spinning this album while I'm writing my review). James Labrie's vocals are amazing and very emotional especially with this being his first album for Dream Theater. The instrumentation included by the three original DT members, John Petrucci (guitar), John Myung (bass), and Mike Portnoy (drums) is of the technical complexity that has come to be identified with Dream Theater. Kevin Moore (keyboards) is also a very memorable figure for Dream Theater's first three albums, but in my opinion doesn't come close to Jordan Rudess who appeared later on. Pull Me Under, which I might add was played on a college radio show run by someone I know, is a great progressive metal song and great intro to the album. The synths at the end of the track also make it extremely special (but then again DT has some of the most amazing synths of any band I've ever heard). The album proceeds into the ballad-like Another Day, which might I add has a terrific sax solo. I won't mention all the tracks, but two other notable ones are Under a Glass Moon, easily one of the best DT songs ever in my opinion, and Metropolis Pt. 1, which helped lead to the creation of Scenes From a Memory, easily one of DT's best albums. The last track, Learning to Live, is also notable for its synths at the beginning of the song, which helps draw you into the song that much more. This album is easily 5 stars, if not 6, and for many people who don't like the heavier sounds presented by other progressive metal bands (Opeth, Tool, etc) this is a highly recommended album and band to explore. If you don't already have it now, get it!
Posted Monday, May 5, 2008 | Review this album | Report (Review #169938)
Review by crimson87
Well I am not a prog metal fan, and to be honest I don't consider this album progressive or original enough.So to be fair I am going to review it as a metal record.
There is some influence from pink floyd , and some genesis sounding in keyboardist Kevin Moore, you can tell by his playing which is not as bombastic as Ruddess's but it blends well with the other mucisians.Secondly i have to state that this is the kind of album that you can put in order to show off your new home theater , the record has an amazing sound (specially the drums).Also LaBrie's voice was at it's finest at the time.
This is a fairly enjoyable album once you get used to all the cheese , and it's also the most accesible one however I can't concider it as a masterpiece because I can't find the originalty.
Posted Saturday, June 14, 2008 | Review this album | Report (Review #173941)
Review by Sinusoid
I'm willing to admit I'm not the biggest expert on Dream Theater; by and far, I found IMAGES AND WORDS to be the greatest of their achievements. For some reason, I feel the band exonerated an urgency here that is not present in any other release that I've heard. It's where their technical soloing blended well with whatever they did compositionally, barring a few length issues.
Some of their finest pieces of work are here, including ''Metropolis'', ''Under a Glass Moon'', ''Surrounded'' and the softer ''Wait for Sleep''. ''Learning to Live'' gets plenty of kudos too; if only it wasn't as long as it is, I'd enjoy it more. However, it is the first two tracks that ruin any hopes of this album being a masterpiece, the worst being the lame attempt at a smooth jazz hit in ''Another Day''.
For me, this is THE Dream Theater album; their talents are at their best here, and I feel the songs here are proof of that.
Posted Friday, July 4, 2008 | Review this album | Report (Review #176104)
Review by LiquidEternity
Images and Words is one of the most significant releases in progressive metal history, whether or not you really enjoy the band at all.
This album is pretty difficult to look at for a rating because, though I recognize its significance and originality, it really doesn't rank up there for me. First off, still, it's a vast improvement over the original. The sound quality is excellent, the music has its own life and can exist independently of its influences, James LaBrie is sharing through the band his operatic and fascinating voice, and the general quality of the instruments are leagues ahead of the brief taste When Dream and Day Unite gave us. Now, instead of a classic Rush sound, the metal comes forth and greets us like Iron Maiden with serious intent to prog us to death. A very nice improvement. However, despite the success and popularity of this work, the band still feels a bit underdeveloped. Some of the songs are really impressive, while others are weak and drag the album down. So if it were entirely up to me, this would probably get three stars, but the importance of the album cannot be denied.
It opens with one of the most widely known prog songs from the 90s, Pull Me Under. This track is nice in the Dream Theater catalog because it's pretty straightforward, it's patient, and it doesn't spend three minutes noodling away. Moody lyrics built off Hamlet first showcase this voice that is James, and he fits very nicely with the dramatically heavy guitars. Another Day follows this, slightly less interesting and mellow. What we have here is a U2-inspired ballad with well-meaning, sad lyrics, but even still, the emotive guitar solo and the silly saxophone bit at the end (now, I like saxophone, but this is as stereotypically 80s as saxophone can come). Thankfully, Take the Time rides on that songs wake, bringing us right back to some energetic metal and excitement. The intro of the song is perhaps some of the strongest music on the album. It closes with a fading guitar solo that always makes me wish the song carried on a bit longer.
Surrounded wanders in next, a very nontraditional song in the Dream Theater catalog, being very gentle and moody and then fast-paced in the middle without being all heavy and metal-oriented. Rather, this is a kind of pop-rock with intelligence that makes it a fun and unique track. Right after that becomes the song that was to the prog community as Pull Me Under was to the mainstream metal community. Metropolis, pt. 1: The Miracle and the Sleeper. This song almost perfectly anticipates the future of Dream Theater, especially when Jordan Rudess enters the scene. To those who don't like noodling and shredding and unisons and pointlessly odd time signatures and all that: look out. This song is almost entirely noodling. A perfect showcase for the band's talent, it somehow (actually, unfortunately) became the direction for the band's future. Nine minutes of incredible wails, ripping guitars, bass solos, whipping drums, and even lightning keyboards from the famously not-into-shredding Kevin Moore. Now, while this track certainly is mostly pointless, it's a fair bit of fun and a very important song in the band's history.
The next song, Under a Glass Moon, is a bit more atmospheric (though the band will never really delve into much atmospheric songwriting save for on Falling into Infinity) and less complicated, though the chorus is a multi-staged beast with some very high pitched singing by James. The guitar solo here, though really famous, is only considered a great solo because it's almost a compendium of the complete skill set of John Petrucci: look, here are each of the techniques he can do. It's neat, but very random and doesn't really go anywhere. Wait for Sleep is a nifty little piano bit with a catchy vocal line over the top, a break from the excessively thick metal (this is early 90s metal, by the way, not as heavy as they are now by any long shot) sound before the concluding track, Learning to Live. This song, featuring lyrics by silent bassist Myung about AIDS victims, really does get some emotion out of the listener, even though there's a very large amount of noodling here, too. The intro is a pretty neat bit, and the reprisals of it only get more progressive. It closes the album with a building and fading outro, which works very well as a way to end this record.
It's got some important flaws to it. The boys noodle a lot. Some of the songs are not that good. But in the end, this is a very important release to the genre, and so anyone interested at all in progressive metal should at least give it a try. Just a warning, though: you're expected to like it. If you don't, have a good reason why not ready.
Posted Friday, October 10, 2008 | Review this album | Report (Review #185272)
Review by Queen By-Tor
New force, new love, new wave.
Here's a review I've put off for too long. Dream Theater's second album could easily be considered their true debut since on the first album the band were mainly mucking around with their first singer and a bunch of ideas. On this album not only did they find a voice for the band in the form of James LaBrie (who these days has just as many haters as hard-core fans), but they also defined their sound and came up with a sound that would define the progressive metal genre to this day. While the band certainly had more under their belt as we would see on their subsequent masterpiece, Awake, this is where it really all took off for the band. The sound is heavy yet refined, as though Yes lost their minds and joined forces with Metallica in some sort of bizarro world where saxophone and keyboards fit in with heavy metal. While Dream Theater often gets attacked in the more ''minimalist'' circles for going on their extended 'wanking' solos, this album shows a bit more restraint in the band being that they seem to be a little hesitant with their abilities. Still, the musicianship on the album is impressive and shows that even a headbanger's band is capable of pulling off song writing skills on par with the 70s greats.
Somehow this album also had some success with the MTV crowd. This would be the album which would get the word of Dream Theater out to the masses, some of which would become their die-hard followers, thanks to choice cuts such as the breakout single Pull Me Under with it's chugging riffs and wailing voice, and the ever fast Take The Time, which exemplifies the use of an atmospheric buildup to a chaotic launch of guitars and power vocals. The saxophone and emotion laden Another Day was also released as a somewhat less successful single, although it seemed to have been structured for the job. Still the emotion portrayed in the song has aged well along with the performances to take the edge off of the pomp by being wedged nicely between the powerhouses that open the album. Surrounded finishes the first half of the album as a soft but powerful tune that's a little more sing-along and listener-friendly than the last 3 tracks with it's prominent synths care of Kevin Moore. An impressive solo from Petrucci accompanied by some quick drumming from Portnoy are a great sign of things to come later in the band's career.
What's to come is usually the section of the album which is of peak interest to the discerning prog fan. Most fans by now know about the band's highly successful album Metropolis Pt II, and so it should come as no surprise that Metropolis Pt I: The Miracle and The Sleeper is one of the album's standouts. A creepy keyboard atmosphere gives the song life as it moves through its more powerful sections, and LaBrie's voice is at the top of its game as it tells this chilling tale. Under A Glass Moon is no less impressive with its slightly more rhythmic approach. But then after the brief and chilling piano led Wait For Sleep, we're into one of the band's greatest achievements. Dream Theater has always been a band about mixing the melodic with the chaotic and the pomp with the subtle, and on Learning to Live they show off just what this mix is capable of. The song is absolutely sublime throughout it's 12-minute duration, mixing catchy hooks with impressive solos and sections that are sharply distinct without alienating the rest of the song. Progressive metal at its best.
Many people call this the most influential album on the progressive metal scene, and while this can be argued to be death there's one thing for certain, you have to hear it to believe it. Dream Theater may be a controversial band in some circles, but there's a reason why even the most rabid Dream Theater hater will occasionally spin this album. An absolute must, it would be a crime to end this review without having given the album a full 5 star rating. In the realm of progressive metal, this is close to perfection - although the band would truly achieve that with their next record, this one is more accessible. 5 Glass Moons out of 5 - Essential.
Posted Saturday, November 1, 2008 | Review this album | Report (Review #187659)
Review by J-Man
Progressive Metal Reinvented
I believe that progressive metal was invented in 1985 by Watchtower in their album Energetic Disassembly. I think Queensrche further perfected this idea in their 1989 album Operation: Mindcrime. Three years had past since Queensrche's monumental album. Progressive metal had become more popular. Bands like Death and Atheist were incorporating this into death and thrash metal, and many bands like Savatage and Fates Warning used a similar formula as Queensrche in their own blend of prog metal.
So the year is now 1992. Prog metal was blooming, but it still wasn't fully grown. We had prototype after prototype, but what we think as prog metal hadn't been defined yet. Images & Words changed that. The mix of synth-driven neo prog, heavy metal, and traditional symphonic prog changed the way we thought of progressive metal. Dream Theater's debut used this same formula. Other bands had previously used this formula. But NONE had perfected it like Dream Theater did with Images & Words.
As evident by that two paragraph history lesson, this album is a 5 star rating without a doubt. I honestly can't think of many albums that are worthy of a 5 star rating more than this absolute masterpiece. In one sentence, this is one of the most important albums in the entire progressive metal genre.
THE MUSIC:
"Pull Me Under"- This is Dream Theater's only top 10 hit, and it is still great. It opens up with a cool guitar riff. The whole band soon joins in, and it's great. John Petrucci does an excellent job, and there are some really great riffs here. The musicianship is fantastic, and this contains some of Dream Theater's finest moments. From the memorable chorus to the excellent instrumental section, this is an excellent opener. I typically find Kevin Moore to be an overrated keyboard player, but he does a great job here and throughout this whole album. I much prefer the style of Jordan Rudess, though.
"Another Day"- After the fairly heavy opener, this song is a light popish song. I love the saxophone playing in this song, which interestingly enough is Jay Beckenstein of Spyro Gyra. I love the melodies here, and this is a perfect AOR sounding song. James LaBrie delivers a great vocal performance as well.
"Take The Time"- This is one of my favorite songs on the album because of its pure energy. The opening is incredible, and the synth solo is incredible. When the vocals first come in, you'll notice how great the rhythm section is. The chorus is excellent and extremely memorable. The musicianship is excellent, especially through the excellent instrumental section. This is a highlight of the album for sure.
"Surrounded"- This song opens up with a light piano and synth line. LaBrie's soft vocals soon enter, and it goes into a beautiful chorus. It eventually builds into an atmospheric uplifting guitar solo, that soon turns into an excellent synthesizer line. The rest of the song builds off of that and then reprises the opening. Despite the fact that this is not even at the 6 minute mark, it has that "epic" feeling to it. This is one of my favorites from the album.
"Metropolis Pt. 1"- This opens up with keyboard chords. It soon turns into heavy prog metal with power chords. This serves as part one of a concept that would later be continued on their full length album Metropolis Pt. 2, Scenes From A Memory. This song is energetic, sometimes dark, and very melodic. This song is very enjoyable.
"Under A Glass Moon"- Opening up with a soaring guitar and synth riff, it builds into sheer awesomeness. The bass playing of John Myung is superb, as well as the rest of the band. The chorus is excellent, but the guitar solo is the real highlight. One of the best guitar solos in heavy metal if you ask me. I think this is one of Petrucci's finest moments.
"Wait For Sleep"- This short song serves more as a prelude to the epic that will soon follow. It is definitely effective though. It uses one of the main themes to the next song, but in a soft piano and vocal harmony.
"Learning To Live"- THIS is where the album really begins. Easily one of the finest songs in progressive metal, this is everything that I dream of when I hear a song. This is emotional, powerful, and dynamic. It opens up with the distinct keyboard melody and it builds from there. The opening is excellent, and the rest of the song is I consider this one of the best Dream Theater songs in existence. Kevin Moore does an exceptional job throughout this song, and he has some killer solos. The main chorus is excellent, and everything is perfectly executed. This album is worth buying for this song alone.
Images & Words is one of the most important and influential albums in the progressive metal genre. It's amazing that such a young band can release such an innovative and virtuosic album. This album is a complete masterpiece that is a magical album from beginning to end. If you're looking to get into Dream Theater, this is a great place to start. One of the best albums in all of prog metal! Yeah, you can guess my rating.
Posted Friday, December 5, 2008 | Review this album | Report (Review #191971)
Review by poslednijat_colobar
When progressive metal was young (or even still unborn).
When I hear the name of the second Dream Theater album - Images and Words - conflicting thoughts come into my mind. I would say this is another band. It's not the same band as Dream Theater I adore. It's something else. It's a band of young and precise musicians who's trying to find themselves. They combine some wonderful ideas into an ambitious album. In my opinion the conception of progressive metal in that period isn't built and mapped out. It's developed in some elemental way, yet! And sounds somehow dry and poor, despite lots of nice themes, virtuosity and creativity of the musicians. For me, Images and Words remains a beginning of this wonderful fairy-tale called Dream Theater, but the best is yet to come much, much later, when the band had been reached to the height of its professionalism and the conception of the genre had been clarified. Images and Words: nice addition to most of the metal collections. 3,25 stars!
Posted Wednesday, January 28, 2009 | Review this album | Report (Review #200912)
Review by TGM: Orb
Images And Words, Dream Theater
Images and Words is, on the whole, a fairly good album. It's not, in my view, a masterpiece, and I share Certif1ed's doubts on how 'progressive' most of it is. The instrumental side is generally excellent, even if occasionally perfectly good songs are dragged down by the band deciding to throw in a basically unrelated bit of noodling, the lyrical side is a bit shabby, ubiquitously positive in feel, and completely lacking any subtlety, but not often emphasised enough to be a huge problem (exception: Another Day...). All in all, however, a number of excellently-played good tunes, of which my favourite is maybe Metropolis. No bad effort.
The band can clearly play, and particularly enjoyable are Myung and Petrucci's excellent performances, Moore's understated keys act as a sort of emotional anchor for the whole thing, and generally acquit themselves very well. Labrie is clearly a technically capable singer, and maybe the paragon of the generic singer-with-a-big-range, however, he really doesn't, most of the time, convey a lot of emotion or innovation and his voice becomes really rather unbearable when he's reaching after the high notes. A good singer, but not a great artist, in my opinion. Now, onto Portnoy... he admittedly has a lot of energy, but the drum performances here end up as an annoyance rather than an attraction, with one homogenous thick drum sound drowning out a lot of the other subtleties of the music just about every time he wants to make an impression. Finally, a note on the mix, I wouldn't mind hearing Myung a bit more audibly, and it sounds much better through headphones than through a decent sound system.
Pull Me Under is a catchy opener, from the first twanging guitar note through to the end. The band manages to build up a bit of communal tension, emphasised by occasional One-Of-These-Days-esque jabs from Moore through the intro and the verses, and then release it in the heady chorus before resuming it again, a burst of lone vocal and disorienting guitar-and-bass runs sort of focussing in a point maintain interest, while the solid riff and wailing guitar act as a constant. Mostly excellent, but it could have done without the rather abrupt ending, I'm afraid.
Another Day is, very much, a rock ballad, complete with tacky drumming and god-awful lyrics (I mean, just look at the chorus... 'you won't find it here, look another way, you won't find it here... so die another day'... it's offensively bad) and a rather irritating James Labrie moment, where he's making overtures to innovation by singing fairly high every now and then and adding an 'a' sound to every bloody vowel. Isolate those gripes, though, and there are a few very redeeming features. The soprano sax, courtesy of Jay Beckenstein, is smooth and moving and Labrie manages a rather impressive, if disconcerting, Eva Cassidy imitation at the start, along with a generally strong vocal when he's not messing around with a sounds, if you can shut out the lyrics. Petrucci pulls off some excellent guitar soloing as well as some vague shimmering sounds which don't really add a lot to the piece, Moore's piano, if a bit patronising, is nice. Comfortably the worst song on the album, and if you somehow like the lyrics to this, you're welcome to them...
Take The Time could well have been the best piece on the album, but it sadly isn't. The opening synthy whispering meets a tense bass part, and develops with rather Jacob's Ladder-esque metal drumming into an aggressive, punchy creature, bleeding cool guitar lines all over the place. A bit of impressively funky Myung playing underpins the first verse, with actually superb vocals from Labrie, complete with insidiously awesome high bits. The little deceleration before the lightning playing of the chorus is entirely merited. Thus far, incredible stuff, complete with catchy harmonies, hilarious dynamics and an ability (largely provided by Moore's tender piano) to slow down whenever needed. Unfortunately, the single most forced, unneccessary and baffling bit of random noodling follows the second verse... it's just so blunt, so utterly uncalled for. Despite a rather neat little bit of stop-start guitar thrown in there at some point and a rather cool bit of synthesque, or maybe even synth, soloing the instrumental break could surely have been introduced much, much better. Still, the only reason that annoys me this much is that the rest of the song is so good. Completed with another Cassidyesque outro, and a not-entirely-necessary bit of feelgood soloing and chorus repeat. Still, a very enjoyable song, and it could well hit my top ten bass performances list.
Surrounded is the seond of the 'soft' pieces, opened by a flood of delicate, almost nervous, Moore keys with an obligatory calm vocal, before a lukewarm Petrucci solo leads onto the whole-band bit. A rather tasteless bit of metalness leads onto increasingly annoying Labrie yowling and a tedious pop beat. The only real redeeming features of the latter part of the song are the occasional excellent Petrucci bits, but really, it's a mediocre pop rock ballad which ends up crippled by its own grandiosity.
The majestic, powerful, sweeping Metropolis is probably the album's highlight, opening with a tense distorted guitar riff, mysterious percussive twinklings, and a thick, murky keyboard background. Even the lyrics have shaped up here, or, more accurately, sound a little better without the constraints of rhyming. Even Portnoy comes across as an interesting player, and the keyboard lines run in perfectly with the shredding guitar. The interplay between the steel (I think) guitar and the the bass is intricate and precise. Labrie contributes a highly emotional performance to the piece, using harmonies rather than simply extended notes, to good effect. After the end of the first sung bit, a very nice bit of keyboard work turns up, and the band even manage a couple of rather neat pause-based transitions as well as a fantastic sort of ultra-complex guitar-bass thing. I've no idea what one particular, rather distinctive synth sound is, but my word is it cool. Anyway, I do like the 'jam' in the middle, even if it maybe relies on messing around with a few motifs a bit. The return of the vocals, subtly underlined by Moore, and assisted by a superb bass part leads to a drum-based outro. Fantastic song. Maybe a tiny weak patch somewhere in the middle, but strong enough to make up for it.
Under A Glass Moon opens with a rather tedious bit of grandiose guitar-led metalness, hamstrung by a wallowing tone, much as Portnoy seems in his element. The piece comes together a bit more when Moore adds some frantic organ jabs, and then weakens again as a dire case of lyrics-music non-relation hits home (cf. Red Barchetta... absolutely not convinced about the nervous flashlights bit). Portnoy is particularly agonising as the piece develops, just adding volume, not effect, from behind the drumkit, and the piece is only really redeemed by the weirder keyboard choices, and the fantastic playing of Myung and Petrucci. Admittedly, those are pretty redeeming when we get to the solo part towards the end, but it's a shame that the first part of the piece has no effect on me. Underwhelming, really, searing though the guitar part is.
The tender Moore piece, Wait For Sleep, is a really quite careful piano-dominated piece, and even if I think it could do with a little more challenge, movement and dynamic to live up to the charming intro and maybe a less blanketing string-synth, it's nice. The lyrics are actually quite nice in a slightly na飗e way, and Labrie manages the vocal quite well. Pleasant.
Learning To Live is maybe a bit anti-climactic as an ending. Extended feelgood metal song, really. An amusing jumpy synth part complemented by a sort of aggressively-restrained drum part opens the song, and a bit of tension-creation through various keyboard song leads up to the 'main song', which has a quality Labrie vocal and rather Floydian keyboards, even if the rest of the band doesn't seem to be doing a lot of any interest, and though the intent is clearly to keep up the tension, the continual irksome drum stabs let it out as soon as it is created. A medievalish-sounding synth and an unoffensive, but unexceptional, Spanishy guitar solo add a bit of colour to the middle of the song, often underpinned by a rising vocal harmony and more subtle keys. The band pulls together a bit at around the seventh minute, with a bit of effective soloing, a hilarious retake of the Wait-For-Sleep keys, before the fairly nice chorus comes on again. A bass solo, always welcome here, ushers in a guitar motif, vocal backing and all, and the piece fades out to a bit of overriffing. My issues with the song are twofold... one, it's not a satisfying conclusion... it's not invested with any lasting emotion, or resolution... just comparing the end guitar fade with Supper's Ready shows exactly what it's lacking. In Supper's Ready, the fade feels like it's going on endlessly towards an eternal celestial goal. Here, the fade just doesn't feel like it's going anywhere. Two, it's just not as solid as many other songs on the album, and could've lost a bit of the 'metal' parts without anyone noticing.
I'm wavering between a three and a four here, and I think I'll have to settle on the former. The three high points of this album are very high, but I've dropped albums to three for having stronger 'weak' material than this (Nadir's Big Chance and McDonald And Giles come to mind). Anyway, I suppose the point of this review is to say that Images And Words will get the occasional spin from me, I'm certainly interested in acquiring more Dream Theater albums and that's fairly high praise in itself, coming from a not-particularly-metal man.
Rating: Three Stars, but with some exceptional material.
Favourite Track: Metropolis
Posted Tuesday, February 17, 2009 | Review this album | Report (Review #203437)
Review by Conor Fynes
'Images & Words' - Dream Theater (9/10)
If someone came up to me and asked for a perfect example of what Progressive Metal should be, I would give them a copy of Dream Theater's 'Images And Words.' Although the metal isn't really found in an extremely heavy supply here, there's just enough heaviness to have it considered as a metal release. As with the band's true debut 'When Dream And Day Unite,' I consider this album to be more along the lines of 'heavy neo-prog.' However, it's overall influence and effect upon the progressive metal world is undeniable, and it remains among the greatest progressive albums of all time, up there with 'In The Court Of The Crimson King' and 'Dark Side Of The Moon.'
This is Dream Theater's first run with their new (and current) singer, James LaBrie. 'Images And Words' offers the singer's talent in droves, and stands as being his greatest vocal performance. While this album has the band's (as of March, 2009) only hit song, 'Pull Me Under,' it is in fact the worst song to be found on the album. While it is great, there are so many better pickings to be found here. For example, the grandiose 'Metropolis Pt 1: The Miracle And The Sleeper' was good enough to spawn a sequel album of it's own ('Metropolis Pt 2: Scenes From A Memory'), which runs alongside this album competing for the placemark of being Dream Theater's best work yet.
The two extended compositions on the album ('Metropolis Pt. 1' and 'Learning To Live') both have their places as being two of Dream Theater's most epic songs. The musicianship is fantastic, however, unlike some of the band's later works, there isn't nearly as much pretension. The virtuosity is kept in check, and works on both a logical and emotional level.
While 'Images And Words' comes in no short supply with the heavy progressive compositions, it is not without it's softer songs. 'Wait For Sleep' was the first Dream Theater song I really fell in love with. Clocking in at under 3 minutes, it is one of the band's shortest songs, but it's also one of their most beautiful. Kevin Moore really works wonders on the keyboard, and remains (in my opinion) Dream Theater's most 'musical' keyboardist.
This is glory that has been yet unsurpassed, not even by 'Scenes From A Memory.' Having been recorded in 1991, the world was mostly unfamiliar with the realm of progressive metal. This album opened doors and paved the way for an entire genre of music to flourish. One of the truly essential progressive albums, and a must-own.
Posted Thursday, March 5, 2009 | Review this album | Report (Review #205523)
Review by Epignosis
SPECIAL COLLABORATOR Eclectic Prog Team
Vocally, this is one of the band's worst albums. I understand James LaBrie has an impressive range, but he practically lives in the clouds on this one. Mike Portnoy thunders away on the double bass pedal, a technique that wears out its welcome rather quickly. The two of them together are just headache-inducing on this album. John Petrucci for the most part does a fantastic job, even though his parts can be somewhat monotonous. John Myung, while often drowned out, is exceptionally competent. And as for Kevin Moore's input, while his synthesizer tones are varied, they can be rather silly-sounding. I'm not sure why so many are enthralled with this album, but I know that I am not fond of it.
"Pull Me Under" Pleasant acoustic guitar laced with effects begins this album before the almost constant assault of pummeling drums begins. Labrie doesn't sound as mature as he would in later albums, and at times, he's downright annoying. The way Petrucci chugs out power chords over the rest of the band makes me yawn. The abrupt ending might make no sense, except perhaps for the nature of the Shakespearean lyrics (inspired by Hamlet), which are praiseworthy.
"Another Day" The second track sounds more like a power ballad typical of the time; in fact, the band thought it would be their hit (surprisingly, the previous track gained more attention). The singing is impressively high-pitched but rather unclear. The ending sounds like Labrie and Portnoy guest on a Kenny G piece (the soprano saxophone was played by Spiro Gyra's Jay Beckenstein).
"Take the Time" Here, Petrucci demonstrates his prowess as a guitarist, employing some intriguing moves on his fret board. Myung can actually be heard from time to time. Unfortunately, it's mainly Kevin Moore's cheesy atmospheric keyboards and the spoken word that detract from an otherwise solid musical performance. And LaBrie's vocals are just awful here.
"Surrounded" LaBrie finally takes a break from the tweeter-frying high notes to sing reservedly, but only for a bit. For the most part, this song is very similar in sound to heavy AOR, with Toto-like music and pop vocal melodies throughout. The introductory keyboard riff is almost identical to the introduction of Queen's "Father to Son," which could be a coincidence, but very well could be a rip off.
"Metropolis Part 1: The Miracle and the Sleeper" Some metal magic happens here in the introduction, with powerful chords and some heavy guitar chugging along. The light keyboard sounds odd initially, but does work. Myung's bass solo is a standout part, but Moore's keyboard work sounds like 16-bit video game sounds, even if it is doubled by Petrucci's guitar. Portnoy's constant use of the double bass drum almost spoils this song for me; there are virtually no dynamics to the lengthy soloing sections.
"Under a Glass Moon" The introduction is one of the finest moments on the album, but then it's back to screeching vocals, burdensome drums, and heavy-handed guitar. Petrucci engages in a smart blend of shredding and funk riffs during his solo, making this one of his most creative works as a guitarist.
"Wait for Sleep" This short piece features Moore's soft piano and the gentler side of LaBrie for a welcome change. It has intriguing lyrics and a fantastic melody. Had it been expanded to incorporate the whole band, I think it could have been a progressive rock masterpiece.
"Learning to Live" A completely corny keyboard begins the lengthiest and final track on the album. The music following the introduction, I'm sorry to say, sounds like part of a soundtrack for one of those gritty, angst-ridden teen movies of the 1980s. LaBrie's screeching and Moore's goofy keyboard sounds rival each other for the worst aspect of the song. On the other hand, Myung's smart bass playing is worthy of applause, and I do like the overall arrangement of this piece.
Posted Wednesday, May 27, 2009 | Review this album | Report (Review #218569)
Review by Evolver
SPECIAL COLLABORATOR Crossover & JR/F/Canterbury Teams
This album was my introduction to Dream Theater. Back in 1991, Jason Rubin, publisher of On Reflection, a progressive rock newsletter in the time of very little prog, had just returned from an interview eith Derek Shulman, president of ATCO records (and former front band for a little known prog band). Shulman had played some demo tapes of a band he just signed that he thought Rubin might like. Jason told me that I had to hear this band. When I received this promo I listened to it immediately. At the time I was delighted that WEA was actually promoting prog. Now it doesn't seem nearly as great.
The album does have some greatness. "Metropolis - Pt. I" is an amazing tune. One of the best DT ever made. But the album also is about half arena rock. But the good songs do shine. And Kevin Moore sounds more like a traditional prog keyboardist than any of the subsequent players.
And from time to time, you can hear what Myung is playing!
3.5 stars, rounded up.
Posted Tuesday, August 18, 2009 | Review this album | Report (Review #232292)
Review by jampa17
The signature for a generation...!!!
As simply as that. If you go to the other albums reviews from DT or all the prog bands from the 90's, you'll always find a reference to these incredible masterpiece. Well, I heard it after hearing the Awake album, so it was a different experience for me, 'cause I was searching something more short and heavy... but I end up really begging for more of them...
The album feels like that magical time in our life where everything seems to be on it's right place. The band shares some of the greatest inspired songs in prog rock and makes a huge a high standard for all their posterior material. You know, it's possible that the metalprog couldn't be there without this album, 'cause it shakes all the walls infront of the prog music cliches of that time.
Labrie sings high and maybe too much over the edge -but I love that just like that- and the rest of the band manage to serve all DT classics. You know, Take the Time, Under a Glass Moon, Learning to Live and Metropolis are really classics with everything included. Great arrangements, song writting, inteligent and original subjects, all surrounded by a magical beat of good vibe.. you can feel it...??? despite of the trigger sound of the bass drum and the snare, you can hear the real Dream Theater here...
Well, I know must of the new fans could say is not that heavy, that fast, that technical... but hey... this album is kind of Kevin Moore trying to held the band not so loud and technical, and been more emotional and touching... you know, there's no song like Surrounded in all the other albums... it's just beautiful and well composed... and Wait For Sleep... you can feel that emotional vibe, that mix of sadness and "give up" feeling... really... Kevin was the master of songwritting... And if you see, he dominates must of the songs, not playing just fast and loud, but with soul and emotion... almost the half of the album has his leads... He can be fast, check the unisons with Petrucci in the instrumental part of Metropolis or the solo in Take the Time... but he liked to keep it cool and great... Sure will get the tradicional JP amazing solos, the Portnoy intricated performance... Myung significant as always... you get the complete package...
This is the album for all prog fans... even for the DT haters... you know you will like some of the songs on this one... just accept it... Prog music is alive, and survive through the 90's with these piece... "I once could see but now and last I'm blind..."
Review by Marty McFly
SPECIAL COLLABORATOR Errors and Omissions Team
Erm, what the ? I threw my eye on this album because everyone was saying how good it is (I started with Score best of album). After all, this is early Dream Theater, they should be good here. And I've tried to be critic, not to easy fall for this and rate blindly with best mark as a lamp in herd. But nope, I was unsuccessful. I had to refuse this futile attempt on changing the way, because this album is simply perfect. Facts (all these epic tracks, not one best and others average, but every one of them great, some of them more, some less) proven persuaded me. From melodic Another Day, Take the Time with unusual singing in the first part of the song (but later improving with guitar solos). Or very special track for me, Under a Glass Moon, first track from DT I've ever heard few years ago, great show of John Petrucci skills (and probably the main reason why he's considered as one of the best guitarists). Not talking about prequel to my favourite album SFaM which is quite satisfying.
5(-), only bad thing would be keyboards, which sometimes sounds, well, weak, strange, not familiar. But other good things are enough for me to give this. Unusually melodic album though.
Posted Sunday, November 15, 2009 | Review this album | Report (Review #250703)
Review by Bonnek
SPECIAL COLLABORATOR Prog Metal Team
I will have to add my voice to the other 1 and 2 stars here. It will be challenging though. I mean, how to review this album without using the word cheesy and horror ten times? Hang on, let me get my synonym dictionary!
Around the time of this release I had a short flirt with Dream Theatre, which was entirely based on the opening track Pull Me Under. Most of the other songs didn't appeal much to me and guess what? They still don't.
Another Day is a cheesy ballad complete with syrupy saxophone and sticky vocals. Horrible. Take That Time isn't much better but at least it tries to be complicated, something Dream Theatre often confuses with progressive. The music isn't very remarkable though, something between Rush around the time of Hold Your Fire and the kind of cross-over that was popular back in 1992. The vocals are terrible: annoying timbre and tacky melodies. Surrounded is another attempt to beat Elton John at cheesiness.
Metropolis. The intro is nicked from Saga, the melodies aren't very convincing and the composition is worthless. Well at least they try to make the music interesting, something that works reasonably well till they head off for that instrumental section around minute 6. Warning! Pointless solos and instrument abuse alert.
Under A Glass Moon is a decent track with some good rhythm guitar. Again the vocals could have been better and the solos are pointless and self-important. Well, we've had so much dreary stuff already that anything is an improvement. The same can be said about Learning To Live.
As a prog lover I've always found this album to be one of the worst things that ever happened to the genre. By the focus on virtuosic self-indulgence, Dream Theatre extracted everything that was dreadful about 70's prog and discarded everything that had made it so wonderful. If you look for originality, creativity, innovation, adventure, emotion and substance, you shouldn't pick up this album.
It is very unfortunate that exactly this very album served as an example for a whole generation of neo-prog-metal bands that clutter the genre. Mind you, I don't care that they exist, if you like them then that's all the better for you, I just wished this wouldn't be called progressive rock, not for any formal or technical reason, but simply because they lack all the qualities of it. Pull Me Under saves the album from one star.
Posted Friday, November 20, 2009 | Review this album | Report (Review #251869)
Review by EatThatPhonebook
The band's second effort is for sure known as one of the very best progressive metal albums ever made. And boy do I agree. I consider this also to be one of the very best of the decade( precisely, I ranked it #2 in my personal list of best albums of the 90's). I remember I first listened to this album when I was in my freshman year of high school, and it completely blew me away. And that is how I got into this band. The elements that I loved about this album are:
1. the Technical Virtuousness. that never becomes excessive, even during the solos of the different musicians, especially of guitarist John Petrucci. Unfortunately, after this album the virtuousness will start to become excessive, especially in their very last albums.
2. The Melodies. always and in every single song hearable, from heavy and fast songs, to beautiful and delicate ballads (I rarely like a Dream Theater ballad, I always find them too pop oriented). It was very surprising for me, I didn't think, until my first listen of the album, that Dream Theater were so melodic.
These two elements in this masterpiece are perfectly combined together, creating very refined tunes and moods.
"Pull Me Under' is hands down the best DT song ever. It is so catchy, heavy, and outstandingly virtuous, but keeping always at a right distance.
"Another Day" is a beautiful ballad, surprisingly moving, like no other ballad written by the band.
"Take The Time" is a particular song, long, but still with a catchy melody. It's definitely the most experimental song of the album, and I like it quite a bit.
"Sorrounded" is a miracle, two great ballads in one DT album!! It has a beautiful atmosphere in the beginning, very jazzy and mellow and calm. The song then gets more enlivened, but never in a heavy way. Great song.
"Metropolis pt1" is one DT's best songs, and the most technical song in the album. Long, heavy, fast, with a long solo by Petrucci, it is however an epic masterpiece, to be listened carefully.
"Under A Glass Moon" is another unbelivable song. I underrated it initially, now I think it's one of their best songs. Similar to the previous track by structure, it is though very different and interesting, almost mysterious in some points.
"Wait For Sleep" is a brief prelude to the final track. It's a piano based song, very relaxing, I really enjoy it.
"Learning To Live" is the longest song of the album, even though it's my least favorite. It has however some great moments, very epic sounding and unforgettable.
Don;t have anything else to say about this masterpiece, if not that it's a shame that many progheads dislike this band and this album, since they consider this too virtuous. I think it's an essential masterpiece for understanding prog music today.
Posted Thursday, May 6, 2010 | Review this album | Report (Review #280710)
Review by ProgShine
COLLABORATOR Errors & Omissions Team
Oh the classic Dream Theater album!
Images And Words (1992) has been considered so much of a perfect album, that finally united Prog and Metal.
Don't get me wrong, this is a really good album, really good, but the sounds here... I mean, guitar sounds, bass sounds, and to be more specific, the drums sounds and keyboard sounds on this album are really, really bad, dates sounds and production. Like a cheap B production of the early 90's. It doesn't stand the test of time for me. And prettu much the same goes for the next album of the band Awake (1994), things only began to change in A Change Of Seasons (1995) (maybe the name were a clue).
'Pull Me Under', 'Under a Glass Moon' and 'Learning to Live' are great songs of the genre known as Prog Metal, if only this record was release some years later...
Posted Sunday, June 6, 2010 | Review this album | Report (Review #285211)
Review by Rune2000
I've been a fan of Dream Theater's music ever since I heard them on the radio somewhere around 2001/02. My first impression was strong enough to make me want to hear more from the band. I did just that by purchasing Scenes From A Memory followed by Six Degrees Of Inner Turbulence and attending it's supporting tour in 2002. Since I wasn't a one of the hardcore supporters who have been following the band ever since the '90s, I had a lot of catching up to do with the band's history and seeing that Images And Words was considered a break-though release for Dream Theater it obviously was highest on my purchase list at the time.
To tell you the truth, Images And Words was initially a huge disappointment for me. I really made an effort to get into this album's material but it just seemed to reject me as its target audience. My main concern had to do with the typical '80s sound production that had no appeal on me whatsoever plus there was also a concern related to the quality of this material that I just could never overlook. Most of these compositions are really great like Learning To Live and Metropolis - Pt. I, but then there are those moments like Take The Time and Under A Glass Moon that come off sounding too sloppy and unfocused for my tastes. It's like the band has a great idea around what riffs they want to play but forgot to create noteworthy transitions between the different sections and let's not forget that hideous '80s metal production which at times makes me feel like I'm listening to a highly technical Glam Metal band.
Lately I've become more accustomed to Images And Words which by no means implies that I consider it a great album, but at least I can now appreciate some of its charm. This album was the reason why it took me another 7 years until I finally had the courage to experience Awake, but more on that in my next review! As for Images And Words, it's a good album that just doesn't work for me as much as I would have wanted it to so my rating should come as no surprise.
**** star songs: Pull Me Under (8:12) Another Day (4:23) Metropolis - Pt. I (9:32) Surrounded (5:30) Learning To Live (11:30)
*** star songs: Take The Time (8:21) Under A Glass Moon (7:03) Wait For Sleep (2:31)
Posted Saturday, August 14, 2010 | Review this album | Report (Review #294490)
Review by Flucktrot
One of those albums that I can see what attracts others, but for whatever reason Images and Words has yet to take hold of me personally. In my heart, this is a 3 star album, but given the historical contexts (a pretty unique sound for 1992), the bright spots (Metropolis, of course, among others), and...well...let's say the cool flaming heart on the cover, I'll round Images and Words up to 4 stars.
Highlights: Pull Me Under, Metropolis, Under a Glass Moon. These songs probably rock the hardest, have the minimum of LaBrie stylings, and fit together nicely as coherent songs (unlike, for example, Take the Time or Learning to Live).
Lowlights: Just because LaBrie was capable of singing higher way back when doesn't mean he should have been doing so, and that's clearly the case here in certain spots (i.e., the end of Metropolis). Also, Petrucci's crunching feels so light at times that it really makes the music feel cheesier in places, although they would address this in later albums (the same could also be said for Portnoy's sound).
Anytime an album gives me at least a couple songs that I regularly come back to, I consider it a worthy investment. Sure, I always hope for a bit more, but that just makes finding those special albums (i.e., Scenes from a Memory) all the more special.
Posted Thursday, November 11, 2010 | Review this album | Report (Review #313269)
Review by Andy Webb
SPECIAL COLLABORATOR Retired Admin
The beginning of it all.
Some despise it, some adore it, and some think it's just alright, but I, Andyman1125, contributor to ProgArchives.com, say that this album is one of the best albums ever produced in this millennia, butt up against Selling England by the Pound and Close to the Edge. Albums like these encompass everything that makes humanity good, skill, passion, desire, self-knowledge, and overall joy of being alive. This album started everything for the now "famous" prog rockers Dream Theater, whose technical ability and passionate devotion to their fans has rocketed them up through the everyday prog band that just doesn't cut it compared to Dream Theater. Certainly Dream Theater can't stand up to the legends such as Yes, Pink Floyd, or King Crimson, but they are certainly the best of their bunch: the leaders of the progressive metal movement.
In the very late 80s and the very early 90s, Dream Theater lost their first singer, Charlie Dominici. His voice led the band for only a few years, and he only appeared on the mediocre debut When Dream and Day Unite. The band began to audition for a new singer in 1991. After sifting through dozens of singers, even including John Arch of Fates Warning, the band called James LaBrie all the way from Canada, the current singer in the glam rock band Winter Rose, to audition. Flying down from Ontario, the young LaBrie (although he was the same age as the rest of the band) auditioned and blew Petrucci, Portnoy, Myung, and Moore out of the water. His incredible range, his melodic tone, his compassionate timbre and vocal strength, he was the perfect fit for the prog metal band's soaring harmonies and instrumental masterpieces. To the fans, LaBrie was the best new singer in the entire progressive scene, and he was.
Images and Words remains the band's only real commercial hit. The song Pull Me Under remains the only song that Dream Theater has released that has had major radio commercial play and even appeared on MTV and other networks. It had won them international acclaim and countless fans from every corner of the globe. But often one might forget: there are 7 other absolutely perfect tracks left on the album. It's easy to rate your "favorite" album 5 stars, despite insignificant flaws that should lower it to a 4, but on this album, there is absolutely nothing wrong with any of the 8 tracks. Each is creative, exciting, compassionate, melodic, heavy, beautiful, rhythmic, and every single other desirable trait of music that one can imagine. Well, now we can start to analyze each track for itself.
You could probably get away with rating this album 5 stars by just saying three words: Pull Me Under. That opening progressive riff somehow even caught the attention of the corporate giants at MTV, a feat in and of itself among the (at that time) pop stars Tupac and other rappers. The music video aired in late 1992, sending ripples throughout the music community. It reached the Top 10 on the Billboard Heartseekers chart, and this song rocks! The opening instrumental section breaks into LaBrie's vocal debut, an epic show of melodic mastery. Vocals mesh with instruments into a beautifully done embroidery of musical genius. The slow and tear-jerking beauty of the keyboard solo flows effortlessly into a sweeping guitar solo, synonymous with John Petrucci. The chorus opens yet again, and a creative and abrupt ending transitions perfectly into the next track.
Another Day is a ballad among ballads. But it's still progressive, don't you worry. This song really allows LaBrie to show off. Moore's beautiful piano backs LaBrie's supreme voice. Some of the most beautiful melodies I've heard in my entire life are heard on this one track. Every note is perfect. Every harmonized second is perfect. The saxophone fits perfectly into the music, which flows in between melancholy beauty and sweeping power. The lyrics are poignant and creative. After absolute beauty ala James LaBrie, John Petrucci takes over with a spectacular solo of his own. Every single transition throughout the song fits beautifully. From vocal to instrumental to vocal to instrumental, the song is definitely a classic Dream Theater ballad.
Take the Time is one of the more fun songs on the album. This song breaks way from the traditional metal sound and incorporates a strong sense of funk. The opening is a creative and rhythmic and sets every listener up for a joy ride of funky bass lines and popping guitar work. LaBrie's exercises his extensive pitch range with piercing heights throughout the song. The bopping fun of the funky verses transitions perfectly into a slower melodic interlude exploring LaBrie's softer and more compassionate side. The soft quickens right back up into that swinging fun of the funky song with a strong (oh so very strong) instrumental section. Each instrument gets a part, even if it is a small one. The band sets the stage for their legacy as a great force of harmonic synchronization, with every instrument playing the same thing at the same time that just infects you with a joy so great you have to fight yourself viciously not to jump up and start dancing around. The instrumental section slows down to a short vocal piece before yet another guitar solo opens up, which ends the song on a great note.
Surrounded is the second ballad on the album. The delicate beauty of the intro could easily make one cry with its melody. But fret not, yee of dour emotion! This sad sound soon sweeps into a explosion of major scales and beautiful polyrhythms! This is definitely one of the happiest songs on the album, despite that sadder intro. Even standing up to the bopping and fun Take the Time, the solos, vocal harmonies, and overall composition of the meat of this song can slap a smile onto the most depressed's face. After all that fun, however, the song beautifully transitions into (a very short) reprise of the intro. Overall, however, the happy body of that song still makes you bob your head and happy satisfaction every time.
Yes, here it is, the fantastic Metropolis Part 1. Nearly no song under 10 minutes can even slightly compare to this song's overbearing epicness. Everything, not specifically the transitions or the melody or the rhythm is perfect about this song, *everything* is perfect. Not one thing is wrong. Not even a millisecond of flaw could be found in this song. This song is the prelude to an entire album, Metropolis Part 2: Scenes from a Memory, which is my favorite album, without a doubt. To say that a meager 9 minute track can be a predecessor to one of the (if not *the*) greatest progressive metal album in history is preposterous to most, but not anyone who knows Metropolis Part 1. The song opens with a different sound ?Jingle Bells! But continues on with one of the greatest keyboard progressions I've heard in my entire life?the "na na naaaa?. Na na nuhhh?." This breaks into a rhythmic-melodic perfection known as John Petrucci. After a short riff-solo, LaBrie enters? in perfect harmony with himself and everything the instruments are playing. This song is like jazz?everything communicates. The drums talk to the bass, which talks to the guitar, which talks to the keyboards, which talks with the vocals, which talks with everything all over again. Everything is in its rightful place, right where it should be, as it should be. The lyrics address everything from love to death to politics to the environment. And then, after the vocal piece, the instrumental section opens. It's hard to even think while this instrumental section plays. Everything that has been right with music for the past 700 years is exemplified in perfection in this piece. Rhythm, harmony, melody, technique, compositional superiority, and I can think of a list a mile long of other excellent traits. Complex time signatures, polyrhythms, technical solos, varying tempos and dynamics, this is like a perfectly composed music theory final composition. Everything good is in it. Myung's solo blows every other bass solo ever out of the water, Moore's creative keyboard parts keep even the most experienced pianists interested, Petrucci's solo defeats any other guitarist ever (well, that's not new), Portnoy can keep time no matter what (even the time signature was 471/67. Yes, they can play in 471/67 =P), and just the overall band performance is absolutely breathtaking. Everyone knows exactly what the other is doing, even if he is playing a solo with a half a million notes in the span of a few seconds. After this rhythmic instrumental beauty, the song transitions ever so slightly back into the vocal section with a crescendoing synchronization piece that could spin the heads of harmonized orchestras (well, maybe not. But still.). LaBrie comes in with his sweet melodic voice. The remaining minute of the song is one of the best in the song. The final touches on Moore's beautiful lyrical poem are put into the song, and this is the true lyrical prelude to the Metropolis Part 2 album. The song ends with some simple instrumentation, seeing as no complex cadence could possible appropriately end this song.
Under a Glass Moon is the next song. This song's heart lies in its guitar solo, but we'll get to that later. The shorter intro sets up the backing instrumentation quite nicely. The vocals come in on a very nice beat, keeping this steady rhythm afloat. The lyrics paint some of the most vivid images of the album, even the title is beautiful thought. The vocals are the most present theme in most of the song, accompanying the beautiful rhythm and backing instrumentation nicely. When the instrumental section, you know something is coming. The guitar sound tightens, and his playing gets more precise. Then it happens. Most certainly the best on the album, the best in the Dream Theater catalogue, and one of the better guitar solos?? ever...starts. It just up and slaps you in the face. It's absolutely exhilarating. Every note and measure is like an adventure of progressive proportions. The use of the guitar's accessories, most notably the wammy bar, is fantastic. Overall, that is one of the best guitar solos I have ever heard. The keyboard solo is great too, but nowhere near the beauty of the guitar solo. Still, however, the track is fantastic. The track follows a similar form as the rest of them, where after a lengthy solo section there is a short vocal reprise and then an instrumental outro. What a track, what a solo. Damn.
Wait for Sleep is the shortest track on the album, clocking in at a mere 2:31. This song is essentially a duet between Kevin Moore and James LaBrie, and what a job they have done! It is definitely the most beautiful and tear-jerking song on the album. It isn't even a ballad, just a beautiful duet showing LaBrie and Moore's passion behind their instruments and not just their incredible skill with their instruments. Most people could play those individual notes, but very few people could play those notes with the passion that LaBrie and Moore show whilst playing the music.
Learning to Live, the final track, is certainly an appropriate ending to a musical joyride. The guys can ride a bike with no handlebars?and win a race. The creative keyboard intro breaks into a sweeping melodic vocal section with some poignant lyrical themes. I can't say this enough, also: the instrumentation is just superb. Everything harmonizes perfectly with what LaBrie is signing, and every note transitions perfectly into the next. As with every other song, the vocal section transitions into a fantastic instrumental section. This is the closest one to come close to Metropolis'. Its instrumental section is just superb; each solo has something special to say to the listener. Each instrument also gets a chance to express itself fully. Whether it's the piano solo's yearning to be free, or the synthesizer's soaring sound flying into the sky, or maybe the guitar solo's ability to do what it wishes among the other instruments. These solos transition beautifully, as always into a short vocal section, that transitions into (oh boy) another instrumental section! Oh joy!!! (Not sarcastic) In this act, the bass gets a moment away from its cage of low frequencies that keeps all the music harmonized and gives his statement of complaint. The drums join him in his parade, before the guitar joins him in an epic backtrack for yet another impressive guitar solo. No, a guitar solo does not have to be 700 BPM with 3,000 notes per measure to be incredible. A s simple (even repeating) riff that is catchy and creative can be incredible too. This small solo fades out into eternity, the same amount of time that I will be listening to this record, over and over again.
ALBUM OVERALL: This truly is the beginning of the legacy that is Dream Theater. Some people spit on the band's name, but in most cases that is purely based on bias. When truly looking at this album for what it truly is, I can't fathom not liking Dream Theater. Certainly someone could say in turn that my rating is based on my own bias, but Dream Theater was the first progressive band I ever heard, which opened up a world of music that 80% of the world has never even heard of. This gate that Dream Theater opened for me has led me to respect them as much as a classic prog fan respects Yes and Genesis. Their technical ability, compositional skill, musical genius, and overall epicness has led me to the conclusion the Dream Theater is and always will be the ultimate prog metal band of all time. No, they are not symphonic prog, and no, they are not from the 70s, but they certainly have not tainted the progressive genre, but rather have added a new chapter in the certainly long book of progressive music.
Images and Words is an album that any musician can look up to. Whether your pride is mellow acoustic riffs reminiscent of Harmonium or thrashing intensity similar to Meshuggah, every aspect of music can be connected to this album. Musically, it is genius, commercially, it was a smash hit. Overall, this is just a fantastic album. I can't even think of an adjective in my expansive vocabulary to describe the overbearing beauty and monstrous amazingness of this album. Well, here ends my 2,447 word review! 5 ++ stars!!!!!!!
Posted Sunday, December 5, 2010 | Review this album | Report (Review #344178)
Review by zravkapt
This is the first DT album I have heard in full. I was familiar with "Pull Me Under" since I seen the video when this album just came out. I heard the title track to Octavarium once, and it put me to sleep. What I heard here pretty much met my expectations. Some parts I liked a lot, other parts I thought were cringe worthy. The rest fell somewhere in between. The don't like the very '80s sounding digital synths used here. The songwriting sometimes comes close to Hair Metal.
I had the single edit of "Pull Me Under" on a cassette comilation from the early 1990s. I know this song well; I always thought this was one of the best metal songs of the '90s. I hate how the ending just gets cut off on the album version. I generally can't stand LaBrie's singing on this album, which is the first with him. Nonetheless, I've often had the "living my life too much in the sun" line stuck in my head over the years. "Another Day" has some saxophone, which I wasn't expecting. I don't like the song anyway.
"Take The Time" begins good with the fast and heavy pace. Then goes funk-metal. They sample Public Enemy in this song! Too bad you only hear Chuck D and not Flava Flav. More melodic guitar playing later on. The harmony vocals sound very Hair Metal. Nice piano in the middle with a sample of someone speaking Italian. Good guitar solo. Last 2 or so minutes is the best part of the song. Sounds like a cross between Hair Metal and Thrash Metal. I don't like the synth sounds at the beginning of "Surrounded". Very cheesy and '80s sounding. This song sounds like a cross between Michael Bolton and Queensryche. I like the "dark to light to dark..." line. Awful song overall.
The best song is "Metropolis Pt. 1". I like the guitar when the singing starts; very Metallica sounding. After 4 minutes begins the best part of the whole album. When I listen to this section I think: "why can't all prog metal sound like this? all the time!" Simply awesome 4 minutes of music. "Under A Glass Moon" has a part that reminds me of Voivod. The instrumental section beginning in the middle is pretty good. Don't really care for the parts with vocals.
"Wait For Sleep" is a short piano-based ballad. Filler. "Learning to Live" is the longest song but not the best. The synths at the beginning are awful and cheesy. Good acoustic guitar later on. Some interesting piano playing even later on. You actually hear the bass for a bit near the end. Not a bad album but I've heard a lot better proggy metal. This album does not make me want to check out any more DT albums. But I might check out some of their later stuff just to see how different it is. For Images & Words I give 3 stars.
Posted Thursday, January 13, 2011 | Review this album | Report (Review #379247)
Review by baz91
After their debut album 'When Dream And Day Unite', Dream Theater went through a tough period trying to replace their lead singer. Of course, they finally stumbled upon James LaBrie, and the rest is history. His voice, then unmarred by the tragic food poisoning accident that was to happen just three years afterwards, perfectly suits the music, making Charlie Dominici a thing of the past. For all of you who love links between various prog bands, you may notice that Derek Shulman of Gentle Giant appears in the credits for this album. Indeed, he was responsible for signing the band to the Atco label! (Time for some GG jokes) 'On Reflection' that was a very good move. Without him they would have been 'Nothing At All'. I shall never grow tired of prog rock and all its 'Funny Ways'. But really, to be 'So Sincere' I should probably get on with this review.
If you've avidly stalked my profile, (or if you're just some friend I've decided to share this review with) you may know that I was once a keen Dream Theater fanboy. During those months I quickly singled out 'Images And Words' as my favourite Dream Theater album, and hence for a while it was my favourite album of all time. Each song on the album is a great standalone track, and together they make a powerful ensemble. This has the advantage over 'Scenes From A Memory', say, because, while that album as a whole is awe-inspiringly brilliant, the tracks by themselves don't really deliver. It also features some of their best-loved and classic tracks, such as Pull Me Under, Take The Time and Metropolis (although I'd like to argue that all of the tracks on this album are classics).
The album start's with the surprisingly popular Pull Me Under. When I say popular, I don't mean among DT fans or prog aficionados, I mean this song actually featured a fair amount on MTV and got radio airplay! Sixteen years down the line, Dream Theater would satirise the fact that only one of their songs has been able to do this by titling their first compilation album 'Greatest Hit (... and 21 other pretty cool songs)'. However, upon listening to this song, you will be completely baffled as to how this could ever have been on MTV. For a start, this song is just over 8 minutes long and has many elements of prog and metal throughout, a recipe that doesn't exactly scream "Commercial!". For fans of prog and metal though, this song is an absolute treat. With lyrics inspired by Shakespeare's 'Hamlet' penned lovingly by Kevin Moore, perfectly written instrumentals appearing throughout and an anthemic chorus, it's not hard to see why this song has become a fan favourite. The obligatory music video - sloppily editing the track down to under 5 minutes and showing Images that definitely don't fit the Words - simply does not do it justice, and makes the song sound much worse, especially to the commercial ear. However, history is history, and whatever it was that got this song so much recognition is probably the reason that Dream Theater are so well known and so highly regarded today. Dream Theater's big break so to say.
While Pull Me Under is not the commercial song that MTV somehow thought it was, this is not to say that Dream Theater weren't trying to gain some radio airplay. Another Day is far more commercial-minded, with effort put into it's ballad-like nature. The song expresses John Petrucci's struggle to come to terms with his father's cancer in a beautiful way. This subject matter would reprise on Take Away My Pain from 'Falling Into Infinity' after his father passed away. While this track does feel more pop than prog, there is nothing corny about this extremely powerful, moving song. The song is decorated with tasteful soprano sax riffs played by the sensational Jay Beckenstein, although in a few cases this comes desperately close to sounding cheesy. Mike Portnoy brings the piece to life with some great drumming that is creative but not too distracting. In the second verse he executes a fantastic groove that he would later use again in both Lifting Shadows Off A Dream and the non-album instrumental Eve. This is one of Dream Theater's best attempts at a radio-friendly song, and I am bewildered as to why MTV didn't single out this track instead.
To hear Dream Theater at their best, you need to listen to their longer, more technical tracks, and Take The Time is a good place to hear this. Littered with bizarre time signatures, this track is every prog-metal fan's wet dream. With lyrics credited to all of the band, this track features wildly changing verses, and break-neck choruses. The instrumental is phenomenal: lasting just over 2 minutes, it can be split into at least 4 different sections, each as complex and mind-boggling as the last. However, it is surely the outro that makes this song so unforgettable. After the final chorus we are treated to a brilliant triumphant section, where we are invited to chant the phrase "Find all you need in your mind if you take the time!" This is followed by what I believe to be Petrucci's best and most memorable guitar solo on record. It may not be his best in terms of length or technical precision, but if this playing doesn't make you want to get up and perform an impromptu guitar solo, then I honestly don't know what will. Perhaps the most infuriating thing about this song (and possibly this album) is the fade-out ending, no doubt left that way so that the band could experiment with different endings during live shows. It is heartbreaking to hear such a great solo fade away, and we are left with a burning desire to know what happens next. Indeed, this a very satisfying song to hear live, as there is no possibility for the band to fade out at the end. Live versions of this track include a longer guitar solo, and, in one case, a cover of the famous guitar outro to Lynyrd Skynyrd's Free Bird. As infuriating as it is, one has to admit that the fade-out was the right decision for this song.
Surrounded is a softer piece, with more melodic tendencies. This track has a bold structure, with the main section of the song being sandwiched between two keyboard sections which act as a distinct intro and outro to the song respectively (rather like Yes's Awaken). The disadvantage of these sections is that they take up around 40% of the song, which feels excessive when the song is only 5:30. It's rather like having a painting where the frame is too large. The intro and outro, while both beautiful, are the less interesting parts, and it can feel like a chore to listen to them along with the rest of the track. The main section, on the other hand, is extremely engaging. Starting in subtle 9/8, the melodic beauty of this track becomes apparent very quickly. The lyrics are great, and can instantly be recognised as Moore's. One highlight for me is James LaBrie's accurate timing when he sings 'Light to dark, Dark to light, Light to dark, Dark to light.' The main section ends with a very powerful section, all strong chords and beautiful singing. The intro and outro are a little too long, but otherwise this is a really well-written and beautiful track.
In my opinion, the best prog rock songs are epic, complex and memorable. It is for these reasons that Metropolis - Part 1 is my favourite Dream Theater track of all time. Beginning with a majestic instrumental intro, this song epitomises the word epic. The intro gives way to strong verses featuring theatrical and evocative lyrics (which some may argue as being pretentious). The music that follows these verses is one of the most complex, well-written rock instrumentals I have ever heard. Lasting a staggering four minutes, this instrumental section showcases the talents of each band member (minus of course singer James LaBrie). There's even a bass solo, for the usually subdued John Myung to shine! Starting in 13/8, the instrumental is of course awash with time signatures. There are too many sections to count, and substantial listening is required to be able to remember all the parts in the right order. To demonstrate how intricate and complex progressive rock can be, one needs to go no further than this song. After four minutes of one of the best instrumentals of all time, James LaBrie returns to bring this epic song to it's symphonic close. If I had to sum up Dream Theater with one song, it would have to be this one, as Metropolis showcases just how intricate and epic the band can be. Of course, they released a sequel 'Metropolis - Part 2' in the form of a concept album, 'Scenes From A Memory'. The album, while not explicitly linked to this song, employs musical and lyrical themes from it, and gives you a better idea of what the first part is about. In case I haven't made myself clear, Metropolis is Dream Theater's magnum opus.
Under A Glass Moon is best known for Petrucci's high-paced guitar solo in the instrumental. The song on whole is very enjoyable, and Portnoy's handling of the complex time signatures is also very remarkable. While there is little to fault this song, I find this track less memorable than the other tracks on the album. The high level of complexity on this track has now become a standard for Dream Theater, which is really the reason why they are so highly regarded.
Wait For Sleep is a beautiful keyboard track with sensational singing from LaBrie. It's usually quite difficult for a band like Dream Theater who are known for lengthy songs, and complex songwriting to come up with a simple track which is of the same quality as the rest of their work. In my opinion, Kevin Moore was their best songwriter, and consequently this is a sublime piece, with subtle time signatures boosting it's quality on this progressive album. The title 'Images And Words' is referenced in the song, making it an integral part of this album.
With lyrics by John Myung, Learning To Live closes this album in the most progressive way possible. This song has a very odd structure, with lyrics cutting out less than halfway through the song, to give way to an epic instrumental. The instrumental is not quite as technical as the one on Metropolis, but has many other standout features. For example, LaBrie famously hits F# at 7:05, which is the highest note on any Dream Theater song besides Octavarium's G5. The theme from Wait For Sleep is also reprised, as if it were the intro to Learning To Live. The song ends with a fantastic bass-driven outro, giving an epic, anthemic end to the album. This song engages me in a different way to other Dream Theater songs, in a way that's difficult to describe. This track is very unique amongst the other songs in Dream Theater's catalogue, which is typical of Myung's songs.
'Images And Words' continues to be an inspirational album. This album would have been a very strong indicator that Dream Theater were destined for greatness. The sound quality is far superior to that of their first album, although notably Portnoy's snare drum was triggered so that it lacked all subtlety in some of the tracks. The artwork is also brilliant, and one can gaze at the cover discovering new things each time, although the band pictures are extremely dated. To anyone wishing to discover the legend that is Dream Theater, this is a perfect starting place, and is THE essential record from this group. With so many great classics on this album, how could you refuse?
Posted Monday, April 18, 2011 | Review this album | Report (Review #435142)
Review by Negoba
Extremely Uneven Album Foreshadows a New Genre
Dream Theater's second album IMAGES AND WORDS, their first with singer James LaBrie, has now achieved iconic status as the official beginning of progressive metal. I distinctly remember when the single "Pull Me Under" was being played on rock radio, and my surprise that a distinctly late 80's sound was still viable in the face of the bludgeoning force of grunge that was going on at the time. Indeed, Dream Theater was combining several of the dominant musical forces from around 1988-89: Over-wrought pop balladry in the vein of Bad English / Journey, faux-operatices vocals a la Iron Maiden / Judas Priest, shred guitar a la Steve Vai, and some heavy riffage a la Metallica. Two new elements were folded in, however. The first was a drummer whose showmanship, virtuosic skills, and love of odd time matched or surpassed the guitars. The second was that Dream Theater was a BAND. Every member had a significant part to play and no one really upstaged the other. For guitar junkies like me, this was probably the freshest aspect of DT. Joe Satriani's great albums were basically guitars over lifeless drum machine grooves, and vocals were often an afterthought on shred albums. At best, keyboards would emerge to swap solos with the guitarslinger (Yngwie Malmsteen). But with Dream Theater, the songs had clearly been developed as a collective.
However, the band was clearly still was trying to find their identity. The band's best songwriter, keyboardist Kevin Moore, was clearly more interested in melody and texture, while guitarist John Pertucci loved heavy riffs. Where everything seemed to come together was during complexly composed instrumental sections, which would become their signature and become the basis of the entire prog metal genre.
1. Pull Me Under - This is simply a great metal anthem. It's not particularly complex or recognizably "prog." It combines some riffage and firebreathing from Pertucci and a superb soaring chorus hook from Moore that deservedly became an anthem. "Pull me under, I'm not afraid" is such a great line. Sadly, the band would never produce another song quite like this.
2. Another Day - A completely generic radio power ballad, though adequate for what it was. The Kenny G-ish solo simply capped off that this was supposed to be the one that made them millionaires as the style had for many bands in the previous years. If it had been 1990, it might have worked.
3. Take the Time - This is the first time that we actually get a glimpse of what the band was to become. A slightly funky beginning with a sing-a-long chorus really grabs the attention at 3:50. The off-time break and solo would become the blueprint. Though not my favorite song, this is where it began.
4. Surrounded - Starting as another pop ballad, Moore actually lifts Jonathan Cain's intro from Bad English's huge hit "When I See You Smile." Instead of being another snoozefest, the song evolves again and again into unexpected places. The syncopated vocal of "Light to Dark, Light to Dark," and the delightful fast solo section make one forget where the piece began by the time it finishes.
5. Metropolis, Pt 1 - For diehard fans of the band, this is the song that defines IMAGES AND WORDS. The extended composition would become the blueprint for the remainder of the band's career. Pseudo-intellectual lyrics with minimal melody are offset by odd time riffs and multiple instrumental sections and solo spots. Ultra-fast leads are played in unison between guitar and keys, and the bass even gets an impressive solo section.
6. Under a Glass Moon - A fairly straightforward Pertucci song that supposedly contains one of his best solos. Here I must mention that though Pertucci now has a reputation as one of the best shredders of all time, in 1992 he was just another face in a crowd. This solo is basically a poor man's Steve Vai solo, with none of the otherworldly tonality. Though JP would improve his technique on subsequent albums he has never to my ear matched the giants of guitar. However, the way he has been able to interweave with his various keyboard partners in crime is fairly unique. I would argue that that element is about all that's left of the band at this point.
7. Wait for Sleep - This jazzy Kevin Moore composition is probably the best song, in the true sense of the word, ever to be recorded under the Dream Theater name. Like all good songs, I can imagine any number of vocalists tackling this and making it their own. LaBrie pulls in the screams and does a good job. The difference between this piece and Metropolis makes it easy to understand why Kevin Moore left the band. I would argue both were worse for the separation, however.
8. Learning to Live - Another extended piece, this one announces itself as prog metal from the first notes. While this song offers a number of tasty morsels, there really isn't a signature hook or riff that stays with me. It's really a typical prog metal album track, though this album is really only about half prog metal. Therefore, it was quite interesting when the album first came out but has lost a little luster with all the imitators that have followed.
IMAGES AND WORDS is really a record of two bands - a Kevin Moore led melodic rock band and the Pertucci / Portnoy led prog metal band that would ultimately define DT. I still think most would argue that the band was best when both were active. For this reason, I think AWAKE is the definitive DT album, with this one being a less developed version showing lots of promise.
To deny the historical importance of this album is folly, and so I am rounding up a 3.5 to a 4 star rating. But it's simply too uneven to truly reach masterpiece status.
Posted Monday, June 13, 2011 | Review this album | Report (Review #460430)
Review by Starhammer
"Just let me catch my breath..."
Towards the end of the 1980s the likes of Operation Mindcrime and Perfect Symmetry had started to sow the first seeds of Progressive Metal, but it wasn't until 1992 that Images & Words' fusion of Rush inspired compositional intricacies with Maiden'esque' grooves and melodies truly gave birth to the genre.
The Good: After recently watching an amazing set at High Voltage which opened and closed with songs from this album, it feels like the time is right to finally review it.
After a slow but sure opener comes the super smooth ballad, Another Day. Featuring some pretty cool (albeit slightly cheesy!) saxophone from Jay Beckenstein, this track is just a warm up for what comes next... five absolute classics of unbelievable quality.
Take the Time was the very first Dream Theater song I ever heard and to this day remains my absolute favourite through a combination of nostalgia and masterful song writing. No matter how many times I listen it just never gets old as there's so much going on in this multi-layered treasure chest of musical goodness. The only possible flaw is the gradual fading of that stratospheric outro, which, in my imagination, always carries on till the end of time... and then some! In comparison, Surrounded is more laid back than an opiate-infused Pat Metheny gig on a bed of feathers. This subtle approach works equally well, and is accompanied by some really great lyrics which are sadly now but a distant happy memory when compared to Dream Theater's more recent output.
Under a Glass Moon. Guitar solo. Mind = BLOWN. And then there's Metropolis, Pt.1: The Miracle and the Sleeper, a composition so epic that it's sequel arrived in the form of a 77 minute concept album, and even that didn't quite do it justice.
On its own Wait for Sleep isn't particularly special, but when heard in the context of the album it segues perfectly into the awesome finale, Learning to Live. This is another track overflowing with subtle nuances, moving seamlessly between each flawless section. The vocals are fantastic which is also true for the rest of the album, and whilst James Labrie's voice has noticeably deteriorated over the years, there can be no denying that during his prime he was pretty much untouchable.
The Bad: Despite it being their only commercially successful single to date, Pull Me Under is probably the weakest track on the album and feels a little bit one dimensional when compared to the rest.
The Verdict: A benchmark within progressive that has inspired countless imitations, but few (including Dream Theater themselves) have matched.
Posted Sunday, August 7, 2011 | Review this album | Report (Review #499109)
Review by Wicket
This is the true milestone where progressive metal finally kicked off, the record that sparked a movement, an album that revolutionized the way prog and metal would forever be played.
But it is not Dream Theater's best album.
The creation of this album was an extremely bold venture after dumping the deadweight in Charlie Dominici and hiring James LaBrie from the band "White Rose". Obviously Petrucci's songwriting skipped the popularity of the rising 90's at the time and went straight to power metal-esque vocals, stratospheric guitar solos and complete obscurity, starting with the track DT is most famous for. Hell, MTV aired it once (when they actually showed music videos)!
Yes, it's a great song, the song the band will forever be known by. We all know that. Yes, even Petrucci once stated that he hoped the fanbase would also appreciate their newer albums. But at one point or another, every DT fan comes back to this very track, and who wouldn't? The chorus is catchy, Petrucci is spot on, the chords are recognizable, and it made 8-minute long tracks popular! It makes sense, when you dig deeper into this album...
"When Dream And Day Unite" shot the gun in a typical straightforward metal approach. Of course, the entire way the album was approached was terrible, so Petrucci, Portnoy and Myung scrapped the old formula and went for a more "poppy" approach. The band will admit they never expected "Pull Me Under" to become a big hit like it did. They expected songs like "Another Day" and "Surrounded" to be more popular, and when you listen to them, you'd agree. Both songs immediately demonstrate the popular "ballad" that many hair-metal bands in the late 80's (and many metal bands in general) would take pride in. In fact, these songs provide almost nothing in terms of advancing the progressive metal brand!
However, coming off from the dreadful thrashing "When Dream And Day Unite", you could tell off the first two tracks that the band took two steps forward instead of two steps back. No, it's the best album in terms of the genre, but it proved that this outfit did, indeed, have a softer side in them (comes naturally when you have a sweet alto sax on any song ["Another Day"]).
Contrary to popular belief, "Pull Me Under" wasn't even the most groundbreaking track on the album. It was another (by today's standards) 8 minute song that Dream Theater used. If you look at many of their songs today, some of their "singles" (using that word lightly; metal bands like these rarely release true singles) are within the 8-8:30 minute range. In fact, it was songs like "Take The Time" and "Metropolis, Pt. 1" that truly broke ground on something special. Musicians finally had the foundation to create songs with catchy lyrics and chorus' that stretched beyond the typical 4 minute pop song.
While "Take The Time" was more lyrically based (Petrucci didn't really shine until the end of the album, even though there was an instrumental break in the middle), it was the proof that this band wasn't afraid to make long songs, and long songs that kicked ass! Sure, it all seems commonplace today, but 19 years ago, it would've been a million-dollar suicide attempt to release an album like this! Luckily though, it was the combination of hits like "Pull Me Under" and "Surrounded" along with the technical prog epics like "Metropolis, Pt. 1" and "Learning To Live" that allowed this band to live another day (no, that was NOT a pun on the song).
Digging deeper into the album, it's clear to see "Metropolis, Pt. 1" as the true forefather into this genre. Conventional wisdom was forgotten, the stereotypical pop song format was thrown out the window, the instrumental sections were given steroids, and instantly Boston's high-pitched singing and Rush's time-signature changes and Yngwie Malmsteen- esque arpeggio's were on display. It erupted as a mass conglomeration of elements both progressive and commonplace in other genres today. It was the ultimate musician's nightmare. This was now turning into a type of music that not only was directed towards accessibility and good songwriting, but now this was turning into technical, demanding music that only the most gifted, talented and trained musicians could even grasp the slightest complexity behind this song. 7 minutes into the song, additional 2nd's were being added onto the main notes, and twisted, atonal chords were being formed, and key signatures were being altered. Finally, Dream Theater would begin to take shape.
And MTV would never be the same again. That's why they're now making reality shows.
Dream Theater's "Metropolis" is the modern day equivalent to The Beatles "Sgt. Pepper's Lonely Hearts Club Band". It completely re-wrote the book on progressive music. It would be a standard that would (attempted to be) duplicated and improved as time went on (as evidenced by DT's "Metropolis, Pt. 2" released 7 years later.
"Under A Glass Moon" begins in a sort of epic fashion, something that the band members always took fancy to. In fact, you could easily mistake it as "Metropolis, Pt. 2" if it were just for the intro! Then LaBrie begins to sing some wonderful verses and the band revert to their "pop" form (even though it was nothing near the pop of the 90's ["Thriller", this was not]). But as this track begins to end and into "Wait For Sleep", the final interesting fact comes in. Looking back on Dream Theater's history, the outfit has gone through three different keyboardists, each more interesting than the last.
This album would showcase Kevin Moore, quite possibly the most ambient and haunting of all of them. It was quite hard to tell on this record, as he mostly played in the sounds of a keyboard string section. However, "Awake" would unleash his true nature, and the haunting soundscapes and elements he would bring would soon translate to his solo work and OSI, something DT didn't want for all of their albums, so he was dumped. Next came Derek Sherinian, known only for his infamous "squeal", as he always played a "synth-y" type of prog (on DT's second-to-worst album). Of course, that all turned to a s***show real quick, and Sherinian was show "das boot" to the door. Finally, in came Jordan Rudess, the classically trained keyboardist whose improvisation, talent and wonderful improvisation techniques fell in line with the band's demands.
But back to this album. Moore's ticket to fame (so to speak) was the ability to create an environment so real, so emotional. It seems like the environment he created was the true key to the success of "Pull Me Under" and "Surrounded", but it was on "Awake" that the haunting nature of his plans were revealed, highlighted by the most overlooked of any Dream Theater song, "Space-Dye Vest" (which was actually written by Moore himself)
Yes, there was also the real "epic" on the album in "Learning To Live", but by now it seemed old at as it followed the footsteps of "Metropolis" and Under A Glass Moon". Yet by now, true progressive enthusiasts and musicians (such as myself) can tell that this was the groundwork for the future; Dream Theater stuck one foot firmly into the ground of progressive metal, but it would be their future work that would build a future of its own and create music like no other, music that will no doubt see this band into infamy (and in my dreams, the Rock & Roll Hall Of Fame).
There might have been a few "80's-90's" sounds thrown into the album (seeing as the disc was released in 1992), but it doesn't really deter listeners from the album at all. The one problem I myself have is the fact that some DT fans praise this album's groundbreaking and innovative element for their more popular songs like the aforementioned "Pull Me Under". No. That song by itself has done nothing to elevate the genre of progressive metal to the upper echelons of instrumental deityism (yes, I just made that word up; sue me). It's the rest of the album that shines in ways that no band had ever invisioned music to be played before, and it eventually became the jumping off point for the Dream Theater we all know and love (and hate) today.
Posted Friday, August 26, 2011 | Review this album | Report (Review #509900)
Review by AtomicCrimsonRush
SPECIAL COLLABORATOR Symphonic Team
The reinvention of Progressive rock
Did Images and Words begin prog metal? 1992 seems like an eternity away now but in its time this album was absolutely the pinnacle of what became prog metal. So many bands owe their existence to this album. It is little wonder why crowds get excited when LaBrie shouts "we are going to do one from Images and Words!" The real master tracks are obvious as they are the ones played live often and they are the ones that every DT fan loves. One of those tracks is the brilliant Pull Me Under. Infectious riffing and melodic cohesiveness makes this one of the all time greatest prog metal songs.
Another one of the classics is undoubtedly Metropolis - Pt. I "The Miracle And The Sleeper". This may be in the top 10 best DT songs, as it features an epic majesty made possible with layers of Moore's keyboards over Myung's relentless bass and Portnoy's sporadic drumming. The time sigs are off kilter and deranged at times. Amidst the chaos LaBrie shines on vocals. If that does not grab you the lead guitar fret work is impeccable from Petrucci.
Under A Glass Moon is a definitive DT track appearing in many concerts. The guitar solos are phenomenal and there are quite a few. The riffing is incredible too making this a bonafide classic. The lead breaks are indispensable and ingrained in metal history.
Learning To Live is quintessential DT with virtuoso solos and musicianship. LaBrie is on fire and you have to love the time sig and bassline. LaBrie's voice is powerful throughout the album, higher than recent years of course because his voice was undamaged by age.
Of course there are other tracks and they are all very good, some may call them masterpieces. The point is, this album is a vital component in the resurgence of prog rock. Prog was dying in the 80s, and barely surviving in the 90s, but Dream Theater created the music they wanted to hear despite the avalanche of rap and other so called musical styles trying to drown out the voice of prog for ever. Images and Words is all killer and no filler the way an album should be. It may not be as genius as Ocatavarium or in the same vein as Scenes From A Memory to come, but this is an important album that cemented prog metal as the new giants of the industry. After this album there was no looking back - the gods of prog metal had been awakened.
Posted Friday, September 16, 2011 | Review this album | Report (Review #524553)
Review by Warthur
Although I don't consider it the classic many Dream Theater fans rate it as, I do find that Images and Words is an intriguing and very enjoyable followup to their debut album. When Dream and Day Unite was an excellent tribute to their various influences, but for the band to sustain itself it really needed to develop its own sound, and Images and Words is where it all came together with a seamless mixing of crunching, thrashy riffs, virtuoso and delicate keyboard work and complex prog songwriting.
The main thing which stops me giving this more than four stars is that the music here regularly threatens to cross the line into unappealing schmaltz - as, for example, on Surrounded - but at its best, Images and Words is an exciting, muscular, adrenaline-pumping piece of prog metal which outlined the Dream Theater sound marvellously.
Posted Monday, January 9, 2012 | Review this album | Report (Review #606390)
Review by BrufordFreak
COLLABORATOR Honorary Collaborator
A perfected, polished version of very familiar sounds and songs from the late 70s through the 80s. I hear WHITE SNAKE, QUEENSRYCHE, RUSH, DEF LEPPARD, SAGA, LOVERBOY, even TEARS FOR FEARS and THE CARS in this music. The only thing I'm hearing new are the more complex drumming, time signatures and time changes. I have to admit, though, for a 'metal' album, this is very likable. But then, metal from the 70s and 80s was, IMHO, much more accessible. Love the sax, good vocal melodies, stunning guitar solos. Also, I get the feeling that often the drummer is the lead instrument--the instrument which all others follow--which is very interesting. No one song sticks out as better or worse--or even different--than the others (except the little beauty, "Wait for Sleep," which, at 2:32, hardly counts). 3.5 stars, rated up for it's polish and for the technical skills of all of the band's individual members.
Posted Sunday, February 5, 2012 | Review this album | Report (Review #626976)
Review by Modrigue
Heavy neo-progressive metal at its best
After the embryonic prog-metal of the 70's and 80's, "Images and Words" will definitely establish the genre in the musical landscape, as well as DREAM THEATER as its undisputed leader.. for a certain time. Sincere progress have been made since "When Dream and Day Unite". Singer Charlie Dominici has been replaced by James LaBrie, whose powerful voice is more adapted to heavy titles. In their compositions, the members have sharpened their virtuosity and their rhythm structures science, inspired by RUSH, METALLICA, QUEENSR?CHE, MARILLION, and even ZAPPA, whose Mike Portnoy is big fan of. The production has also improved and the sound is clearer. Everything is not perfect though: DREAM THEATER offers quite soapy moments here, but its fantasy, soli and breaks are greater than before!
This second opus was initially intended as a double album, with the 25 minutes suite "A Change Of Seasons" included. However, the label imposed a single LP, resulting in the removal of various songs, and the re-recording of "ACOS", who will be released in 1995 on the eponymous EP.
The opener instantly became one of the band's great success. The cult and powerful "Pull Me Under" is a heavy title with an haunting introduction, fact-paced and calm passages, as well as an abrupt conclusion that always surprises me. Like I suppose many people, I thought my CD was broken at first listen. In fact, the musicians wanted to show death could arrive at any time... Not the most complex composition from DT, nevertheless very catchy. One of the band's classic! But the listener will have an even greater shock listening to the next track... What's this? The ballad "Another Day" simply features DT at its soapiest! A soundtrack for a cheesy eighties romantic clip, with its FM piano and saxophone. Easily the worst song of the record. "Take The Time" fortunately takes us back to a world of fantasy and dreamy metal with its gorgeous neo-heavy-prog passages, changing into groovy and funky rhythms. A lesser- known but nonetheless perfect title! Then comes the second and last black sheep of the album, "Surrounded". Another boring and out-of-place ballad, however this time more listenable than "Another Day", a bit in the style of MARILLION.
Don't worry, the second half of the disc can be browsed with serenity. In 1992, "Metropolis Part 1" was one of DREAM THEATER's most ambitious composition. An enchanting and epic tale, including numerous rhythm changes, various sonorities, catchy moments and breaks where RUSH and ZAPPA influences can be clearly perceived. It also features very short but incredible bass play from John Myung. Take the time to enjoy it, his solo interventions will unfortunately rarefy in the future... Anyway, a superb track! With "Take Your Time", "Under A Glass Moon" is "Images and Words"'s other forgotten little gem. Its majestic and floating opening unveils raging riffs and a fast- paced tune, but still with a neo-prog touch. Less breathtaking than its predecessor, nonetheless includes a few surprises and cool soli. "Wait For Sleep" is a short fairytale ballad, however this time much pleasant than the two others, introducing the longest and also maybe the heaviest song of the album, "Learning To Live". In the lineage of "Metropolis Part 1", this powerful epic displays assumed RUSH influences, with numerous ambiances and various interventions. The finale is simply heroic! Great!
"Images and words" is definitely one of DREAM THEATER's best opus, as well as an influential milestone in the progressive metal genre. This second effort show a genuine improvement compared to their debut, with better sound quality, more mature writing, more variations and better vocals.
A small remark though: this is no dark, depressive or aggressive prog-metal per se, rather fantasy / dreamy heavy neo-prog metal. The music is full of dated vintage synthesizer sounds, reminding MARILLION and SAGA, but that's what makes its own charm and contributes to the magical ambiance. Why two cheesy romantic titles among these colorful metallic epics full of gorgeous soli? I don't know... My advice: program your hi-fi to skip tracks 2 and 4. The rest is just flawless.
An essential listen for any progressive metal fan, and the one to start with if you're new to this genre or to DREAM THEATER. What are you waiting for?
Posted Wednesday, January 4, 2017 | Review this album | Report (Review #1675969)
Review by Kempokid
COLLABORATOR Prog Metal Team
Dream Theater's landmark album, Images and Words is definitely a much more entertaining and impressive album than their debut, with better, clearer production. a far superior vocalist, and music that keeps flipping between being either proggier or more pop focused, rather than the often awkward middle ground taken throughout the debut. That said, unlike many people, I personally don't find this to be where they reached their peak, largely due to the fact that I find this brand of prog metal to be nothing particularly special and found some of their later work to experiment more and just be more enjoyable. Nevertheless, this is still a great album and one of DT's better works, just definitely not their best in my opinion.
One other reason I find this album to be somewhat meh in certain areas is due to the fact that it very much sounds like a collection of songs, rather than a single cohesive experience, and while this isn't much of an issue, I do find it to be an extremely common thing to stop an album from being a masterpiece. Pull Me Under starts off the album in an excellent fashion, and I'm still surprised how this became their most popular song when Surrounded and Another Day exist. This is an amazing wall of sound, switching between lovely melody and aggressive passages of drumming perfection. I also appreciate this as it's before almost every Petrucci solo became nothing but shredding, and is an all aorund enjoyable song, even if the ending leaves me, along with practically every listener completely cold. The next three songs all highlight the playfulness that the band can have. Another Day is a good ballad with an awesome saxophone solo, and I still believe that this is the song that should, by all rights, have been the one that became incredibly popular, just on the basis of musical style. Take The Time is a very fun song, with a lot of bouncy rhythms, jumping all over the place, with some really strange rhythm to go along with it, along with an awesome solo that essentially summarises the song. Surrounded, while definitely the most fun song, with the "Light to dark" vocal section and my favourite guitar solo of the album, it overall sounds pretty weak and cheesy, especially the extremely dated sounding synths.
The second half of the album is really where things become much more proggy, with the majority of the longest songs, along with much more technically impressive stratches of music, especially in Metropolis Part 1, which has an insane, albeit slightly overlong and drawn out instrumental section, complemented by the amazing opening and closing movements of it. Under A Glass Moon is by far my favourite song on the album, with the incredibly grandiose intro, leading into an absolute adrenaline rush of a song. From this album, it's probably the only song by Dream Theater that I'd rate in my top 15 by them. The durmming and guitar playing throughout is nothing short of breathtaking and awe inspiring, and the song never lets up for a second, becoming more energetic as it goes on, starting off with a fairly restrained, groovy bessline and ending in an extremely fast paced instrumental section. Wait for Sleep works as a serviceable interlude into Learning to Live. This is another of the better cuts of the album, with some really cool melodies from Kevin Moore, along with the most dramatic, expressive performance from Labrie on the entire album. Other moments of greatness are found in the reprise of Wait For Sleep, and the incredible high notes reached by Labrie.
Overall, while I feel as if this album is extremely consistent and high quality, I don't feel as if it reaches enough points in wihch I'm impressed by much more than the instrumental prowess that the band possesses, and while in this case, it often works very well, it's definitely not going to be something I consider a masterpiece. This is a vast improvement over the flawed debut album, but it's definitely not an album that I'll return to very often, especially in favour of a few of the later ones by the band. That said, this is definitely a great starting point into DT, being likely the most praised and definitely the most popular in their discography.
Best songs: Pull Me Under, Under A Glass Moon, Metropolis Part 1 - The Miracle and the Sleeper
Weakest songs: Surrounded, Wait For Sleep
Verdict: Decent, dramatic, and extremely impressive progressive metal that would definitely appeal to the fans of said sort of music. One of the albums that I do think most people have heard by now, and if not, as long as you have even a passing interest in prog metal, you should probably do so.
Posted Saturday, March 2, 2019 | Review this album | Report (Review #2151114)
This is Dream Theater's second album, and their commercial breakthrough. It became a definitive prog-metal statement very quickly, and became the template for hundreds of prog-metal bands to follow. Personally, I find it difficult to listen to at times. Not because of the complexity or the heav ... (read more)
Report this review (#2490755) | Posted by Jack_608 | Tuesday, January 5, 2021 | Review Permanlink
Although since the mid-eighties there were bands like FATES WARNING, QUEENSRHYE, and SAVATAGE that took influences from progressive music and its intricate developments and progressions to combine them with the sharp guitars of heavy metal and of course, its inevitable touch of sensitivity, it i ... (read more)
Report this review (#2486230) | Posted by Hector Enrique | Saturday, December 19, 2020 | Review Permanlink
Images and Words is really just a powerhouse of an album. The production is fantastic and the songwriting is Dream Theater at their best. I'm really not much of a prog metal guy, and i'm often quite Dream Theater critical, but this, along with SFAM and Awake are undeniably fantastic progressive albu ... (read more)
Report this review (#2186136) | Posted by dougmcauliffe | Tuesday, April 23, 2019 | Review Permanlink
A very good album from Dream theater, it was its second one, being the most succesfull comercially. I was interested to hear it in generally because I was expecting to hear Metropolis 1. I liked a lot Metropolis 2, however if you are in the same case, I warn you this album has nothing to do with t ... (read more)
Report this review (#2079251) | Posted by mariorockprog | Wednesday, November 28, 2018 | Review Permanlink
Dream Theater - Images and Words Review № Stardate 11810.19a THIS is perhaps the ultimate, most influential Progressive Metal album of all time. THIS is THE Badass Monster M黷ha F黭ka in my Prog Metal sensibilities.. (That is not meant to discount Fates Warning, Queensrche, Redemption, ... (read more)
Report this review (#2046041) | Posted by Cylli Kat (0fficial) | Friday, October 19, 2018 | Review Permanlink
Thanks to this album, I discovered the world of Progressive Rock. Sharp, piercing right in the heart of Pull Me Under, settled in my head for a long time, I head the top of my Chart. Another Give without praise, the ballad is very melodic, solo on the saxophone reaches the most secret corners of ... (read more)
Report this review (#1780936) | Posted by Progunklebear | Monday, September 11, 2017 | Review Permanlink
LET THE LIGHTS SURROUND YOU: 10/10 DREAM THEATER harbor unparalleled potential with spectacular musicians such as Kevin Moore, John Petrucci, and John Myung, whose skills were visible since their debut WHEN DREAMS AND DAY UNITE but uncanny chains were holding them back from releasing their full p ... (read more)
Report this review (#1734551) | Posted by Luqueasaur | Friday, June 16, 2017 | Review Permanlink
"Images and words" is the classic that set new ground of the progressive metal subgenre, this is the older Dream Theater at its best. Amazing guitar solos,amazing lyrics,amazing vocals,amazing keyboards,amazing drums... everything about this album is amazing. The album is melodic,fast paced,emot ... (read more)
Report this review (#1586449) | Posted by Rodrigo Andrade7 | Sunday, July 10, 2016 | Review Permanlink
Excellent compromise. I'm sure, it is said almost everything concerning this very album, so I'm not going to praise it with all that pompous epithets and to eulogize it again and again. Not that I don't like, quite the contrary. But there is something more than the music itself, it's compositi ... (read more)
Report this review (#1543569) | Posted by ArtuomNechuev | Wednesday, March 23, 2016 | Review Permanlink
Dream Theater go from boys to men on their 2nd release "Images and Words". With their first release and Charlie Dominici out of the way, incoming James LaBrie belts out his voice and this alongside Kevin Moore's impeccable composition skills provides for a masterpiece in Progressive Metal. ... (read more)
Report this review (#1529805) | Posted by RainingStigmata | Tuesday, February 16, 2016 | Review Permanlink
Up until the early 90s I had listened to a variety of bands, with most falling into the metal genre. Thanks to some older neighbors blaring Iron Maiden and Black Sabbath out their windows, I was influenced at a very young age. My music world changed a few years later. At that point, my favorite band ... (read more)
Report this review (#1529637) | Posted by Prog Snob | Tuesday, February 16, 2016 | Review Permanlink
Images and Words has been very influential for forming of the new wave progressive metal rock. It is a very complex work of art, played with much craft by gifted musicians. However, for me it doesn't work at all. It' s too smooth, too technical. There are no surprises and no really heavy or ... (read more)
Report this review (#1492489) | Posted by justaguy | Wednesday, November 25, 2015 | Review Permanlink
It was back in 2003 that I was looking in a Virgin Megastore (remember those?) with the noble intention of investing my money in a band I'd never heard before. These were before the days when Youtube and streaming were so easily accessible. When we had to take risks with our money to try out new ... (read more)
Report this review (#1469890) | Posted by martindavey87 | Saturday, September 26, 2015 | Review Permanlink
My favourite DT album. Favoutite songs: Take the Time, Surrounded, Metropolis Pt. 1. Musicmanship is sharp and compositions are memorable. I like some pop so it doesn't bother me to hear catchy vocal melodies and harmonies. I consider negative (maybe this is true...) that DT forced other musicia ... (read more)
Report this review (#1446393) | Posted by marcobrusa | Tuesday, July 28, 2015 | Review Permanlink
Dream Theater-Images and Words 'Images and Words' is the second studio album by progressive metal band Dream Theater. Often called one of the greatest progressive metal albums of all time, if not the greatest, 'Images and Words' holds the spot as Dream Theater's highest rated album here on PA ... (read more)
Report this review (#1371204) | Posted by Pastmaster | Saturday, February 21, 2015 | Review Permanlink
This is the album that changed the course of Progressive Rock and Metal in the nineties! In an age when Nirvana would take the world by storm and everyone would rave about a band that was all about drugs, problematic behaviour and short unmelodic songs (with all respect to an artist, like Nirvana ... (read more)
Report this review (#1112044) | Posted by greenblooded | Friday, January 10, 2014 | Review Permanlink
Images and Words is Dream Theater's first album with vocalist James LaBrie. It was the beginning of a huge journey for the band who are now progressive metal giants. Everything about this album is classic DT, from the technical yet memorable guitar solos, the abundance of crazy time-signatur ... (read more)
Report this review (#1028945) | Posted by Lord Anon | Wednesday, September 4, 2013 | Review Permanlink
I have a really tough time with this band. Most of their work, in my opinion, have such a cold, dry metronomic quality. It doesn't really move the listener, in my opinion, like other forms of prog. What they lack is the sublime, subtle nuances or "feminine" essence as some would say. With that ... (read more)
Report this review (#1009712) | Posted by ster | Friday, August 2, 2013 | Review Permanlink
Images and Words is Dream Theater at their best, and that's high praise indeed. I would give this one 4 and 1/2 stars if half stars were allowed. This album consists of well-written and entertaining music, which should be what matters in any genre. As for songwriting, Kevin Moore seems to h ... (read more)
Report this review (#997208) | Posted by thwok | Saturday, July 13, 2013 | Review Permanlink
Before writing this review I took a minute to read over what was written about the album by reviewers who assigned it a low rating. Words like "unemotional" and "cheesy" seemed to pop up fairly often. For the life of me I simply can't fathom how someone couldn't be stirred by these songs. Sure ... (read more)
Report this review (#905956) | Posted by Neo-Romantic | Monday, February 4, 2013 | Review Permanlink
Post a review of DREAM THEATER "Images and Words"
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In the French theatrical landscape, Julie Berès is known for shaping onstage the contours of “mental space,” deliberately eschewing naturalism – and for conceiving each work as a “dream voyage” in which we will find elements of reality (which may come from specific texts or a collection of personal statements) as well as her own poetic imagination. The images created with her polyphonic stage vocabulary (including text, sounds and music, video, transforming sets) make a dramaturgical framework, much more than what is erroneously called “visual theatre.” The term “suggestive theatre” is perhaps closer to her intent: it requires the spectator’s perception to be engaged, creating an environment open to dreaming (sometimes bemused) as well as deeper reflection.
Born in 1972, Julie Berès spent much of her childhood in Africa. When she arrived in France at the age of 18, her intent was to study philosophy. But each summer her parents had taken her to the Avignon Festival, where she met the famous director Ariane Mnouchkine – and did a mask workshop with her at the Théâtre du Soleil. Her plans changed. In 1997 she entered the Conservatoire National Supérieur d’Art Dramatique in Paris.
With Poudre!, which she premiered in 2001 at the Théâtre National de Chaillot, Julie Berès founded her company Les Cambrioleurs. And even in this first piece, she set the tone for her journey forward, described by Libération as “a blend of the magical and the burlesque.” Her next pieces were in a similar vein – in which faulty or absent memories shape the wandering of a fantasized mental space: Ou le lapin me tuera (2003) and e muet (2004), as well as a collective work created with four other directors, Grand-mère quéquette (2004), a theatrical adaptation of a novel by Christian Prigent.
Her interest in “plural dramaturgy,” in which crisscrossing agendas are reflected in texts, set design, sound design and video, became clearer in On n’est pas seul dans sa peau, created in 2006. With this work, in which the delicate issue of aging and memory loss was explored, Julie Berès inaugurated a work process she called “documentary immersion,” collaborating with a playwright, Elsa Dourdet, and a video director, Christian Archambeau. For a time she shared the daily lives of seniors living in a retirement home, while also doing preparatory interviews with doctors, gerontologists and sociologists. Often, the performance of this piece also included encounters with active associations and groups working with seniors in France.
She used her documentary immersion technique again in 2008 for the creation of Sous les visages, dealing with the pathologies of addiction, and in 2010 with Notre besoin de consolation, which dealt with contemporary issues of bio-ethics. Berès went all the way to India to meet surrogate mothers in a specialized clinic, and in Denmark she met the director of one of the largest sperm banks in Europe. As she prepares her new work Red line (a creation planned for 2018), she will be addressing planetary concerns about climate change, creating a collection of archival images as well as filming in situ places in the world where environmental and human consequences of global warming are already evident.
Along with her unique ability to document important societal themes which anchor her theatrical creations in the larger issues facing our society, Julie Berès has also developed a stage language which is not in the least realistic, choosing instead to explore the unconscious, dreams and the fantasies which punctuate and haunt our lives.
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Book Review: The Emperor’s Blades
By mpederson July 1, 2014 August 16, 2016 Reviews
by Michael D. Pederson
The Emperor’s Blades
by Brian Staveley
Tor, 478 pp.
Last issue I praised a new fantasy novel (American Craftsmen) for it’s originality in both concept and execution. Today I review a new fantasy novel that has absolutely nothing innovative about it, yet I still enjoyed the heck out of it and for regular readers of this column you know how I usually feel about fantasy. The Emperor’s Blades, by newcomer Brian Staveley, is a traditional epic fantasy and the beginning of what promises to be a lengthy saga.
The story follows the three offspring (two sons and a daughter) of a slain emperor. Kaden, the heir to the Unhewn Throne, has spent the past eight years in a distant mountain range studying under an ancient sect of monks. Also for the past eight years, Valyn has been training with the empire’s most elite soldiers, the Kettral. Adare, the daughter, has stayed in the capital city and, upon her father’s assassination, is elevated to the role of Finance Minister. Although we get hundreds of pages of training and character development for Kaden and Valyn, there are only a few chapters given to Adare—mostly dealing with the death of her father and the execution of his assassin. She does, however, have one of my favorite scenes in the novel and ends the story in possession of a key piece of information so I’m hoping that she’ll play a greater role in the sequel. There’s always a need for more good, strong female characters in science fiction and fantasy and I hope that Staveley seizes the opportunity to give us one.
There is (of course) a grand battle at the climax of the story that brings both brothers together and hints at an ancient threat that should serve as the main plot thread for future volumes, however the primary story arc is one of personal growth. We follow both sons through their training and watch as they have to master everything they’ve been learning in order to survive the inevitable conflict at the story’s climax. And that is the aspect of the story that will draw you in: watching the boys learn from their mistakes, accept their losses, and grow into men that can rule an empire. The second book in the series, The Providence of Fire, is due out in January, 2015.
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Tagged Book Review, Brian Staveley, Issue #24, Michael D. Pederson, The Emperor's Blades.
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Daughter of Lir
by Rindis on July 25, 2020 at 12:00 pm
Like White Mare’s Daughter, this is a… not-quite-historical novel, that explores how some of what we know of prehistoric societies might have worked. In this case, we’re around 3300 BCE, with the beginnings of the Bronze Age, and the invention of chariots.
Once again, this is a clash of two cultures; a sedentary, goddess-worshiping one, and a nomadic steppes-tribe which has developed chariots. We get a peek at the wider world this time, with a secondary character from Sumeria, which was nice (and he could have stolen the show if given more screen time).
The stories in this series are ‘mythic’ in feel, and again reminded me of the feel of Renault’s The King Must Die. Fairly down-to-earth characters are part of something larger than themselves, and also stand in for bigger forces in the world. The plot is a bit more intricate this time, with two young princes sharing a spotlight as they help the reader see their culture, and cross… destinies in the middle. The broad outlines are telegraphed, but it’s a great journey
While the goddess’ country is again a bit too utopian to be true here, but it’s not perfect, and I am reminded of some of the discussion in GURPS Religion about the hierarchy of a religion potentially being separate from who the god(dess) they worship imbues with power. There’s some good thought here, but it’s all seen from the outside, so it more ‘happens’, rather than is examined.
Its really best to just enjoy these as coming-of-age adventure stories, but there is more here, and I am disappointed Tarr didn’t include an afterword on the actual cultures she’s talking about, like she did with White Mare’s Daughter.
└ Tags: books, historical fantasy, reading, review
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Sadlers Wells Wood
Sadlers Wells Community Woodland
Sadlers Wells Community Woodland (“SWCW”), a registered charity (No. 1105117), was formed to acquire and manage approximately three acres of ancient semi-natural woodland known as Sadlers Wells Wood on the edge of the village of Bunbury near Tarporley, Cheshire for the benefit of the local community and to extend it by the planting of a further two acres with native broadleaved trees. The wood is a remnant of a much larger wood which is mentioned in the Domesday Book and it is a much appreciated local amenity which occupies a prominent position in the Cheshire landscape.
The purchase of the wood was completed in January 2006 with the aid of a substantial grant from the Heritage Lottery Fund. The Trustees also gratefully acknowledge the help, advice , donations and assistance given by the Cheshire County Council, Cheshire Landscape Trust, Cheshire Community Council, Cheshire Wildlife Trust, the Cheshire ECOnet Project, Crewe & Nantwich Borough Council, Bunbury Parish Council, Spurstow Parish Council, the Bunbury Society and the many friends and colleagues who have helped and continue to help us.
The Charity was re-formed in 2017 as a Charitable Incorporated Organisation (Charity No. 1171849) known as Sadlers Wells Community Woodland CIO.
Entrance to the woods in Winter
Copyright © 2021 Sadlers Wells Wood. All rights reserved. Theme Spacious by ThemeGrill. Powered by: WordPress.
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Birds of Prey investigation to be completed this month
Posted on July 16, 2019 by Sunny South News
Results of the bird deaths at the Birds of Prey Centre will be presented to council later this month.
During their regular July 8 meeting, Coaldale town council received an update on the investigation into the bird deaths at the Birds of Prey Centre last year.
In late August 2018, staff at the Birds of Prey Centre discovered birds were getting sick. Over the course of the next month, 15 of their most high profile birds died.
Due to the symptoms the birds exhibited and the cluster of bird deaths, staff at the centre determined the cause was West Nile Virus, although this would need to be confirmed by lab testing.
As there were stagnant pools of water in place of a wetland drained during the Malloy Basin construction, they believed this was where the mosquitoes carrying the virus originated from.
The town was informed of the outbreak, asked that the centre clarify their language — in that that they suspected it was West Nile Virus until test results confirmed that it was West Nile in their communications to the public on the matter — and filled the ponds with running water.
The test results came back positive for WNV in November 2018, and the centre announced the discovery in late December. In response, the town called for an investigation into the bird deaths.
At council’s regular April 8 meeting, it was announced that the town had retained Solstice Environmental Management to conduct a review of the events contributing to the bird deaths at the centre, as well as performing an assessment on how to best manage WNV in Coaldale and the surrounding areas.
The full report was due to be submitted to council for review by the end of June 2019.
However, town CAO Kalen Hastings told council that Solstice was still waiting on some additional information, and the estimated completion date had been pushed back.
“The primary reason for delay is the investigators are still waiting on additional information external to the organization. There is, however, a high degree of confidence that the report will be fully complete by the end of July 2019. In fact, I’m being told July 17 is the completion date,” said Hastings.
As the dealing has been pushed back a month, Hastings informed council that town administration has been in contact with the centre regarding the water levels of the ponds they lease from the Town.
The centre has opened the water valve that connects the town’s west stormwater pond to the ponds located within the centre, and, as of the date of the report, water is running through the small ponds that the centre leases from the town.
Additionally, there is no evidence of stagnation within any of the stormwater ponds located on the northwest portion of Coaldale.
To allow them to “close the loop” before fall, Hastings asked if council was willing to hold a special meeting before the end of the month in order for the report to be brought to council.
Council unanimously passed motions to receive the update for information, and to hold a special council meeting on July 29 at 5 p.m. in council chambers. Coun. Bill Chapman was absent from the meeting during council’s discussion and vote.
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November 19, 2012 AlexW Yiwu News
Yiwu, a city in Zhejiang province well-known for its small commodity trade, plans to become an international special trade zone.
It’s claimed, for instance, that six out of 10 Christmas trees sold in the United States come from Yiwu.
But Chen Yixin, the Party secretary of the city of Jinhua, which administers Yiwu, said he wants to build its imports, as well as its already-strong exports.
“We are mulling a plan to build Yiwu into an international special trade zone.
“We’ll submit the plan to the central government for approval,” Chen told China Daily, on the sidelines of the 18th National Congress of the Communist Party of China.
He said he believes now is the perfect time for the central government to widen its reforms in some specific areas, and Yiwu would offer the perfect location.
“We have some comprehensive economic zones such as Shenzhen in Guangdong, Pudong inShanghai and Binhai in Tianjin, and we need reforms to go further afield,” Chen added.
Despite China’s export growth slowing this year due to the sluggish global economy and the euro zone debt crisis, Yiwu saw its exports jump 59.1 percent in the first nine months to $4.19 billion.
“We expect our export growth to exceed 80 percent year-on-year this year,” Chen added.
Zhejiang Governor Xia Baolong said at a discussion session during the congress that the province is struggling to achieve an import and export growth rate of 10 percent this year.
China’s exports had been declining since late last year, but have picked up in recent months. Exports in October rose by 11.6 percent from a year earlier, compared to the 9.9 percent year-on-year increase registered in September, according to the General Administration of Customs.
Yiwu’s impressive export performance, Chen explained, is attributed to a number of measures taken to improve services for customers.
While consolidating its business in traditional export markets, the city has also been successful in expanding into emerging markets, such as Latin America, Africa and Eastern Europe, he said
By the end of September, the number of foreign trade companies registered in Yiwu reached 4,658, up 29.4 percent year-on-year.
While plans for the pilot zone are expected to give a significant boost to exports, Chen said he hopes imports will also rise significantly as a result.
“We used to be considered a good export platform for all types of commodities from China. Now we could be used to bring overseas products back into China too,” he said.
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By Valley Dental Care
Tags: celebrity smiles veneers
What's an actor's most important feature? According to Vivica A. Fox, whose most recent big-screen role was in Independence Day: Resurgence, it's what you see right up front.
"On screen, your smile and your eyes are the most inviting things that bring the audience in" she said. "Especially if you play the hot chick."
But like lots of people, Vivica reached a point where she felt her smile needed a little help in order to look its best. That's when she turned to a popular cosmetic dental treatment.
"I got veneers years ago," Ms. Fox told Dear Doctor magazine in a recent interview, "just because I had some gapping that probably only I noticed."
What exactly are dental veneers? Essentially, they are thin shells of lustrous porcelain that are permanently attached to the front surfaces of the teeth. Tough, lifelike and stain-resistant, they can cover up a number of defects in your smile — including stains, chips, cracks, and even minor spacing irregularities like the ones Vivica had.
Veneers have become the treatment of choice for Hollywood celebs — and lots of regular folks too — for many reasons. Unlike some treatments that can take many months, it takes just a few appointments to have veneers placed on your teeth. Because they are custom made just for you, they allow you to decide how bright you want your smile to be: anywhere from a natural pearly hue to a brilliant "Hollywood white." Best of all, they are easy to maintain, and can last for many years with only routine care.
To place traditional veneers, it's necessary to prepare the tooth by removing a small amount (a millimeter or two) of its enamel surface. This keeps it from feeling too big — but it also means the treatment can't be reversed, so once you get veneers, you'll always have them. In certain situations, "no-prep" or minimal-prep veneers, which require little or no removal of tooth enamel, may be an option for some people.
Veneers aren't the only way to create a better smile: Teeth whitening, crowns or orthodontic work may also be an alternative. But for many, veneers are the preferred option. What does Vivica think of hers?
"I love my veneers!" she declared, noting that they have held up well for over a decade.
For more information about veneers, please contact us or schedule an appointment for a consultation.
184 Pleasant Valley Street Methuen, MA 01844
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Watch Sean Penn Movies | Watch Sean Penn TV Shows
Sean Penn Wiki
Occupation: Actor, Producer, Director
Sean Penn Movies / TV-Shows
The Professor and the Madman (2019)
The Angry Birds Movie (2016)
The Last Face (2016)
3 Hikers (2015)
Sweet Micky for President (2015)
The Late Show with Stephen Colbert (2015)
Late Night with Seth Meyers (2014)
The Secret Life of Walter Mitty (2013)
The Human Experiment (2013)
Piers Morgan Live (2011)
This Must Be the Place (2011)
American Masters Woody Allen: A Documentary (2011)
If God Is Willing and da Creek Don't Rise (2010)
Phil Ochs: There But for Fortune (2010)
The 82nd Annual Academy Awards (2010)
The 81st Annual Academy Awards (2009)
The People Speak (2009)
What Just Happened (2008)
Between Two Ferns with Zach Galifianakis (2008)
The Graham Norton Show (2007)
War Made Easy: How Presidents & Pundits Keep Spinning Us to Death (2007)
When the Levees Broke: A Requiem in Four Acts (2006)
Invasion of the Ideas (2006)
Buy the Ticket, Take the Ride: Hunter S. Thompson on Film (2006)
Saturday Night Live: The Best of David Spade (2005)
The Interpreter (2005)
The Colbert Report (2005)
The Assassination of Richard Nixon (2004)
The Cutting Edge: The Magic of Movie Editing (2004)
Jimmy Kimmel Live! (2003)
Pauly Shore Is Dead (2003)
Bukowski: Born into This (2003)
21 Grams (2003)
It's All About Love (2003)
Real Time with Bill Maher (2003)
Viva la Bam (2003)
This So-Called Disaster: Sam Shepard Directs the Late Henry Moss (2003)
Penn & Teller: Bullshit! (2003)
Rosy-Fingered Dawn: a Film on Terrence Malick (2002)
September 11 (2002)
Dogtown and Z-Boys (2001)
I Am Sam (2001)
A Constant Forge (2000)
Up at the Villa (2000)
Curb Your Enthusiasm (2000)
Before Night Falls (2000)
The Weight of Water (2000)
Sweet and Lowdown (1999)
The Thin Red Line (1998)
Hurlyburly (1998)
The View (1997)
Hugo Pool (1997)
She's So Lovely (1997)
U Turn (1997)
The Daily Show (1996)
Dead Man Walking (1995)
The Crossing Guard (1995)
Inside the Actors Studio (1994)
Ellen (1994)
Friends (1994)
Late Show with David Letterman (1993)
Carlito's Way (1993)
The Larry Sanders Show (1992)
Maury (1991)
Cool Blue (1990)
State of Grace (1990)
We're No Angels (1989)
Casualties of War (1989)
Colors (1988)
Biography (1987)
Dear America: Letters Home from Vietnam (1987)
At Close Range (1986)
Shanghai Surprise (1986)
American Masters (1985)
The Falcon and the Snowman (1985)
Racing with the Moon (1984)
Risky Business (1983)
Fast Times at Ridgemont High (1982)
CBS News Sunday Morning (1979)
Little House on the Prairie (1974)
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Tag: Elections
I admire Physicists around the world, especially the likes of Richard Feynman – Genius but Goofy. Read almost every book written on Manhattan Project and biographies of most great scientists. Recently I started reading about great mathematicians and wondered why we don’t hear or celebrate this group of scientists as much. Although some of the exploits of the great John Von Neumann around WW II era are legendary, most contributions of a lot of other mathematicians are rarely ever heard.
Andrew Wiles, a British mathematician, solved Fermat’s Last Theorem (There are no whole number solutions to the equation x^n + y^n = z^n when n is greater than 2) in 1990s. This was no trivial matter. The problem was posed by the French Mathematician, Pierre de Fermat in 1637. A number of great mathematicians tried to solve this problem over the past three centuries without much success. Dr. Wiles finally did it and yet he is not as well known among common masses as, say, Dr. Feynman. I think some of this is probably due to the abstract nature of mathematics. For example, F= ma is a simple but very elegant equation that can explain the beauty of Isaac Newton’s work. Similarly, E= mc2 for Einstein’s and Challenger disaster/o-ring explanation for Feynman’s (his Feynman diagrams may not be popular among non-scientists.) So, when I came across Abraham Wald’s work around WW II in Jordan Ellenberg’s book, “How not to be wrong”, I was ecstatic.
Abraham Wald was born in 1902 in what was then Austro-Hungarian Empire. His father was a kosher baker and yet Mr. Wald turned out to be a world class mathematician. Genius comes from all walks of life and unfortunately so does hatred. He was driven out of Europe by Nazis and Dr.Wald ended up in New York as a math professor at Columbia University around WW II era. He was also part of the Statistical Research Group (SRG), similar to Manhattan project, and helped Allies of WW II in their war efforts.
He solved math problems for the military and here is one of many interesting problems Dr. Wald solved during that era and this example has implications at so many levels in so many different fields that it is simply mind boggling!
How should Allied forces armor its fighter planes to better withstand enemy bullets? A simple question but hard to answer. A simpleton might say, “It is easy. Just put the armor all over the dang plane man.” See, the problem with that is armor makes planes heavier and that makes planes consume more fuel and hard to maneuver. The simpleton’s solution solves one problem but makes the plane ineffective!
As any good scientist would do, Dr. Wald and his team asked for field data (not opinion polls but actual data) of bullet holes on the planes and they got it. The American military provided the following data.
Fuselage had 1.73 bullet holes per square foot;
Fuel System had 1.55 bullet holes per square foot;
Engines had 1.11 bullet holes per square foot; and
The rest of the plane had 1.8 bullet holes per square foot.
American military felt that the answer was obvious and staring at them. Their logic was that the military should armor the parts of the plane where they found most bullet holes (i.e., fuselage).
Dr. Wald asked a simple question: Where are the missing bullet holes? And pointed out that the armor should go where the missing bullet holes are, i.e., engines. He reasoned that Germans sprayed bullets at these planes during dogfights at random and the missing bullet holes must have been on the missing planes. Simply put most planes that got hit on engines never returned. Behavioral Psychologists call it “Survival bias”. A simple but elegant observation! By the way, Dr. Wald provided a comprehensive mathematical solution to the problem but “where are the missing bullet holes” pretty much captures the key thesis.
Dr. Ellenberg further explained the above problem in a much better way in his book. Here is his crystal clear explanation: “If you go to the recovery room at the hospital, you will see a lot more people with bullet holes in their legs than people with bullet holes in their chests. But that’s not because people don’t get shot in the chest; it’s because people who get shot in the chest don’t recover.”
You may say, “Isn’t that nice! But what is the point Mr. Faker-maestro?” Well the point is sometimes we have to worry/think about what is missing more than what is present. Of course, I am referring to the 2016 Presidential elections of the United States of America. If you are wondering what do elections have to do with randomness and uncertainty, well everything!
It is not too often that we get dumped on with a whole lot of data, opinions, polls, potential consequences and a few observations. Election time is a party time for data hogs. Consensus call for 2016 election was for Mrs. Clinton to win the 2016 Presidential Election in a landslide but Mr. Trump won by a whisker (thanks to Electoral College). Mrs. Clinton won the popular vote but Mr. Trump won the Electoral College (306 to 232). Wall Street pundits professed a total market meltdown if Trump won the election. Markets actually closed up post his win.
Every political troll was shocked to see Donald Trump win and most “experts” started spouting opinions on how the opinion polls got it all wrong. Some newscasters even went so far as to suggest that the final outcome was a result of rage among certain groups of the US population (especially the ones with lower melanin levels and no college degrees) against intellectuals. I am not sure if college degree has anything to do with the election outcome though. Post-election reactions of most pollsters, newscasters, and some ultra-left wing citizens pretty much put the argument for college education to rest.
We evolved from autocracy (One ring rules them all) to Democracy, where 50.1% of population controls the remaining 49.9%, over the past 3,500 years or so. Democracy may not be perfect but it is the best thing we have for now.
I analyzed Nate Silver’s election forecasts (538.com) prior to the elections in 2016 and he had about 2 to 1 odds in favor of Hillary Clinton (most other pollsters’ odds were in the range of 85% to 99% in favor of Clinton) on the Election Day. One has to give credit where it is due and Mr. Silver cautioned his readers that the race could be close. He even wrote an article called, “Trump is just a normal poling error behind Clinton” four days before the big day. The race was too close to call because Clinton only had a 2 to 3 point advantage over Trump and 2 to 3 point polling errors are fairly common. In other words, although Clinton was ahead in polls, her lead was not statistically significant. It becomes even clearer if one looked at leads at the state level. Both Florida and Ohio were a toss-up and yet most pollsters gave these states to Clinton. Mainstream media ignored this important measure of uncertainty so blatantly. Nate’s forecast recognized that uncertainty. It is important to note that I did not root for either of the candidates. I just wanted to understand the data and it was not clear to me how the media could draw such strong conclusions form the same data sets.
Lack of understanding of uncertainty got a lot of people by surprise again (Brexit showed us a glimpse of that.) Although my base case forecast was also in favor of Clinton, the end result did not shock me. The outcome was entirely within the forecast range and not a major shock.
There is a much simpler way to explain the election result. Most democracies are rarely polarized. However, democracies with two party systems are much easier to understand. The US population can be split into 45% – 45% – 10% among Democrats, Republicans, and unaffiliated. The unaffiliated 10% pretty much determines any election. Once in a while that 10% could grow to 20% but the 45% – 45% -10% is a good and simple model. One sided elections happen when majority of the unaffiliated voters go for one party. Here is some background data to support the above point of view.
Year Democrat Popular Vote (%) Republican Popular Vote (%) Other Popular Vote (%) Comment
1988 45.6% 53.4% 1%
1992 43.0% 37.4% 19.6% Ross Perot took votes away from Bush Sr.
1996 49.2% 40.7% 10.1% Ross Perot took votes away from Bob Dole
2000 48.4% 47.9% 3.7% Bush won Florida
2004 48.3% 50.7% 1% Bush was still riding the WMD wave
2008 52.9% 45.7% 1.4% Obama beat McCain
2012 51.1% 47.2% 1.7%
2016 48.2% 46.1% 5.7% Major candidates were polarizing figures
Did you notice that whenever “Other” popular vote share went above 2% the election result got all messed up? Unaffiliated voters swing elections. 1992 and 2000 elections were a lot more controversial and 1992 election was especially a crazy one. Ross Perot got 18.9% of the popular vote and helped Bill Clinton win the election. Ross Perot appealed to a lot of Republican voters in both 1992 and 1996 elections. Bill Clinton was so unpopular among democrats in 1992 that he did not even get all of his base democrat constituency. He only got 43% of overall popular vote and still won the Election.
2000 Presidential elections were a lot closer to 2016 elections in character. A lot of people were sick of Bill Clinton’s escapades in the White House in 2000 and that created a lot of uncertainty among the unaffiliated voters. Al Gore (I practically invented internet fame) paid for it.
So, what happened in 2016? Almost half of the unaffiliated voters did not like both the major candidates and they voted for other candidates. Was it so hard to notice the dislike among the unaffiliated voters? Not at all! Then why did we miss the forecast? Well, Mr. Trump is a polarizing figure (same applies to Mrs. Clinton as well.) He made sure he got his 45% of votes from the Republican camp by saying some not so pleasant things and so did Mrs. Clinton but “Others” messed it up for Mrs. Clinton. It is very hard to get this minor change (“Others”) in opinion polls as the change is within the polling error range. Also fear of ridicule could have stopped a few people from openly disclosing their support for Mr. Trump. Not a surprise! Just a few thousand votes in key states swung the Electoral votes in favor of Mr. Trump and he won the overall election.
Hillary got her 45% votes from the Democrat camp and almost a third of the unaffiliated votes. Obviously I am simplifying the vote allocation here and it is entirely possible that certain moderate feminist republican voters could have voted for Hillary and vice-versa. But the point is that half of the unaffiliated voters went for other candidates. History tells us that every time the other candidates got more than 2% of the overall popular votes, the election becomes too close to call. There was nothing wrong with the opinion polls. It is just that most pollsters and newscasters simply ignored the polling error range and the margin of lead was not significant enough to warrant a 90% confidence level in favor of Mrs. Clinton. Emotions overruled simple math.
You may say that is all fine and dandy Mr. Faker but how can a person with 46.1% votes win over a person with 48.3% of popular vote. American founding fathers realized a long time ago that popular vote alone may not represent what is best for the country. They introduced Electoral College system to temper down densely populated areas overpowering countryside. Here is a simple way to explain the process from a video game perspective. Imagine a game with 50 levels (50 States) and the winner is awarded certain number of medals (Electoral College Votes) for each level depending on the difficulty of that level. This is where it gets complicated. The winner of each level is determined by the number of points (popular votes) scored by the player in that level. The person with highest number of points (popular votes) in that level wins it and gets the predetermined medals. Are you with me so far… well here is the rub. Some levels may allow you to score a lot more points than the other levels but the winner of any level only gets the predetermined number of medals allocated to that level (i.e., even if the winner gets 100% of the points in that level, the winner can’t carry over those points to other levels.) Capisce? The idea is that the winner of the game has to be good enough at each and every level.
This is where Mr. Trump played the game well. He barely managed to get enough points to win each level (he barely won most of his levels and lost big in some levels.) That did not matter as he managed to win the most number of levels and that gave him most medals (Electoral College votes.) Mrs. Clinton on the other hand won some of her levels with massive points lead and lost close battles in most levels (i.e., she did not win enough total medals.) For example, Mrs. Clinton lost Michigan by ~11,500 votes (almost 5 million votes were cast) and it did not matter. Mr. Trump got the entire 16 Electoral College votes from Michigan. Similar story in Wisconsin, Pennsylvania, and Florida. All went to Trump. On the flip side, Mr. Trump lost by a landslide in California (Mrs. Clinton won by a whopping 3.5 million vote lead and she still only got 55 Electoral College Votes.)
Here is an interesting point to highlight about the uncertainty we talked about earlier. Mr. Trump won the state of Utah with 45.9% of the popular vote vs Mrs. Clinton’s 27.8%. But here is the kicker, an independent candidate named Mr. McMullin (native son of Utah) won 21% of the state’s popular vote. The “Other” got Clinton. If you are wondering what happened in 2012, well Mr. Romney (Utah native) got 93.1% of popular vote. It is interesting to note that almost 55% of the folks from the Beehive state did not care for Mr. Trump and he still won. As you can see, majority of the unaffiliated voters (Others) in the country did not care for either of the main candidates. If not for “Others” Mrs. Clinton would have received an additional 75 electoral votes (Florida, Michigan, Pennsylvania and Wisconsin) with ease and that would have flipped the current Electoral College votes in her favor (and that would have been the consensus call of landslide victory for her.) In other words, uncertainty ruled the roost on the Election day.
One may say majority should rule and these medals for each level do not make sense. I will not argue for or against Electoral College system but only say that both players and supporters knew the rules of the game well and these rules have been in place for at least two centuries.
2016 election was a close one to call but the end result was hardly shocking. Key takeaway from all of this is that don’t ignore uncertainty. It is perfectly fine to say, “I can’t call this one with much confidence as the uncertainty around the forecast is large enough to Trump even Mrs. Clinton.”
Author adminPosted on November 13, 2016 December 12, 2019 Categories RandomnessTags Abraham Wald, Clinton, Elections, Trump, Uncertainty
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Derrick Brown 2019 OUTLAND TROPHY SEMIFINALISTS
Posted by Action Sports & News Team November 21, 2019 mode_comment0
OMAHA (FWAA) – Six semifinalists for the 2019 Outland Trophy – five offensive linemen and one defensive tackle – were announced Wednesday by the Greater Omaha Sports Committee. The six semifinalists are players from six schools at four different positions representing four different conferences.
The 2019 Outland Trophy, presented by the National Foundation for Infectious Diseases (NFID), is awarded annually to the nation’s best college interior lineman on offense or defense.
NFID is presenting the trophy to help increase awareness
about the importance of annual influenza (flu) prevention.
Getting vaccinated each year is your best line of defense
against the flu. The All-America Committee of the Football
Writers Association of America (FWAA) selected the
semifinalists.
The field for the 2019 Outland Trophy is as follows, listed in alphabetical order: Wisconsin center Tyler Biadasz, Auburn defensive tackle Derrick Brown, Oregon offensive tackle Penei Sewell, Clemson guard John Simpson, Georgia offensive tackle Andrew Thomas and Iowa offensive tackle Tristan Wirfs.
Former University of Pittsburgh tackle Mark May, the 1980 Outland Trophy winner, is serving as the Outland Trophy #FightFlu ambassador on behalf of NFID. May is making media appearances on behalf of the #FightFlu public awareness campaign to remind everyone six months and older to get an annual flu vaccine.
The six semifinalists will be paired to three finalists next Monday. The recipient of the 74th Outland Trophy will be announced during ESPN’s The Home Depot College Football Awards on Dec. 12, live from the College Football Hall of Fame in Atlanta. The official presentation to the winner will be made at the National Foundation for Infectious Diseases Outland Trophy Award Dinner sponsored by Werner Enterprises on Jan. 15, 2020 in Omaha, Neb.
Here is a closer look at each of the semifinalists:
Tyler Biadasz, C, Wisconsin (6-3, 321, Jr., Amherst, Wis.): Biadasz is the latest of outstanding Wisconsin linemen paving the way for record-setting running backs, as Jonathan Taylor is the nation’s leading scorer (21 TD’s) and needs just 20 more yards to break Donnel Pumphrey’s FBS record for most rushing yards in a three-year span (5,653), which is also Biadasz’s tenure of 37 consecutive starts. Also in Biadasz’s favor is pass protection, where the line has helped the Badgers complete 72.2 percent of their passes, fourth nationally. Biadasz is Wisconsin’s second consecutive semifinalist (offensive guard Michael Deiter last year). Offensive tackles Gabe Carimi (2010) and Joe Thomas (2006) are previous Outland winners.
Derrick Brown, DT, Auburn (6-5, 318, Sr., Sugar Hill, Ga.): Brown is the rare playmaker tucked in the middle of Auburn’s line. Consistently double-teamed, Brown has still produced 43 tackles that are fourth on the Tigers’ defense along with 9.0 tackles for loss and 4.0 sacks, both second on the team. The team captain’s best games have come in November, with seven tackles each against second-ranked LSU and Ole Miss and most recently six against fifth-ranked Georgia. The Ole Miss game was one of three times he earned the SEC Defensive Player of the Week award. He was also the Trophy’s Defensive Player of the Month for October. Brown has 157 career tackles, 30.0 TFL’s and 13.0 sacks. Auburn claims two previous Outland Trophy winners, defensive tackle Tracy Rocker in 1988 and offensive lineman Zeke Smith in 1958.
Penei Sewell, OT, Oregon (6-6, 325, So., Malaeimi, American Samoa/St. George, Utah): Sewell is regarded as the top offensive lineman in the Pac-12 and, in short, he’s the best lineman on the nation’s best offensive line. As such, an Oregon lineman has taken seven of the Pac-12’s 10 Offensive Lineman of the Week awards, and Sewell has three of those. Head coach Mario Christobal says he’s the best lineman he’s ever coached. Sewell was the Outland Trophy Offensive Player of the Month for September and leads the team with 45 knockdowns, blocking for an offense that is 22nd nationally at 460.4 yards per game. He has five or more knockdowns in five of 10 games. Run-blocking is his specialty but he has yielded only six quarterback pressures this season on 364 pass-blocking snaps and has not allowed a sack.
John Simpson, G, Clemson (6-4, 330, Sr., North Charleston, S.C.): Simpson has been a regular in the ACC weekly honor roll with three Offensive Lineman of the Week awards, the latest coming Nov. 11 after grading at 90 percent with four knockdowns in a 55-10 win over N.C. State. Simpson lines up inside a line that has Clemson’s offense still ascending with record-setting numbers, averaging 543.1 yards per game, third nationally. It has reached 50 points in a fourth straight game for the first time in program history (and 45-plus in six straight) and has posted 500 or more yards in six straight games. As for pass protection, Simpson is part of a line that has allowed only 12 sacks in its last 19 games. He became the first Clemson offensive lineman to score a touchdown since 2011 with a one-yard plunge against N.C. State. His senior class at Clemson is 52-3 overall the past four seasons. The Tigers have never had an Outland winner but had two semifinalists last year (defensive tackle Christian Wilkins and offensive tackle Mitch Hyatt).
Andrew Thomas, OT, Georgia (6-5, 320, Jr., Lithonia, Ga.): October’s Outland Trophy Offensive Player of the Month has been the eldest stalwart on Georgia’s left side protecting quarterback Jake Fromm, continually grading at 90 percent or above, and it has yielded plenty of results. Georgia is fourth in the SEC at 208.6 rushing yards per game and 24th nationally. The Bulldogs are tied for fourth in the SEC at 32.4 points per game and are tied for second in the nation with yielding only 0.6 sacks per game this season. Thomas has been the SEC Offensive Lineman of the Week twice this season, helping running back D’Andre Swift post a second consecutive 1,000-yard rushing season. Georgia boasts the 1968 Outland Trophy winner, defensive tackle Bill Stanfill.
Tristan Wirfs, OT, Iowa (6-5, 322, Jr., Mount Vernon, Iowa): Wirfs starts primarily on the right side and has paced the protection for quarterback Nate Stanley, who is third in the Big Ten in passing yards (2,331) and passing yards per game (233.1). His 66 passing touchdowns (14 this season) are second all-time at Iowa and he needs nine more in three games to pass the leader, Chuck Long. Wirfs has 30 career starts at both tackle spots – he started three games at left tackle earlier this season and the last six (and seven total) on the right. He was the first true freshman under coach Kirk Ferentz to start at offensive tackle. Iowa has four all-time Outland Trophy winners, most recently 2014 with offensive tackle Brandon Scherff, along with offensive tackle Robert Gallery (2003), defensive tackle Alex Karras (1957) and offensive guard Calvin Jones (1955).
The Outland Trophy is the third-oldest major college football award. Created in 1946 when Dr. John Outland presented the FWAA with a financial contribution to initiate the award, the Outland Trophy has been given to the best interior lineman in college football ever since. Dr. Outland, an All-American at the University of Pennsylvania in the late 1890s, eventually took up practice in Kansas City, Mo. An avid outdoorsman, Dr. Outland believed linemen did not get the credit they deserved and wanted an award to recognize them.
The Outland Trophy is a member of the National College Football Awards Association (NCFAA), which encompasses the most prestigious awards in college football. Founded in 1997, the NCFAA and its 24 awards now boast over 800 recipients, dating to 1935. Visit ncfaa.org to learn more about our story.
togged in: Auburn Tigers, College Football, football, sports
Georgia Takes Down Georgia Tech for Fifth Straight
Kirby Smart Talking Texas A&M
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Opinion: Sony should try making a handheld again
Written by Rick Warren / Gfn2112
The PlayStation Vita was a failure. As tough as that is to admit, it's an undeniable fact when you look at what's coming out (or what isn't) for the device in the future. Undertale appears to be the last gasp of life from the ill-fated portable system, and as an early adopter of the Vita, this is a shame to see. Despite this, I actually do want Sony to try making a handheld again. Sure, maybe I'm just a glutton for punishment, but I truly believe that if they learn from their mistakes they can deliver.
Step 1: Prioritizing Gaming
While this step may be obvious, Sony failed on this front completely after only the first year of the Vita's short lifespan. The platform may have some great exclusives like Uncharted: Golden Abyss, Severed, Killzone: Mercenary and LittleBigPlanet Vita, but it's hard to find many others. Call of Duty Black Ops: Declassified was nothing more than a cheap cash grab, and Resistance Burning Skies wasn't as good as it could have been. Instead of building on their exclusive lineup, Sony chose to go the route of ports. Virtually every classic PlayStation series came to the Vita, from Metal Gear to Jak and Daxter (even a Bioshock port was planned, but was cancelled due to the Vita's poor sales numbers). While most of these collections ran well and were great to play again, they quickly outnumbered the new games coming to the Vita. Soon enough, the releases died off entirely. Nothing else came out (other than the occasional indie game that I had already played on my PS4), and I stopped having a reason to use my Vita altogether. The Vita went from being an exciting device filled with potential, to being nothing more than an expensive companion device for the PlayStation 4. The saddest thing is that this lack of games could have been avoided completely. All that was lacking was one, simple thing: a good price point at launch.
Step 2: A Fair Launch Price
Make no mistake: this step completely determines the future of any device. Sony should know this, as with the PlayStation 3, they chose to launch at a hefty $600. This risky decision did not pay off; it ultimately led to the Xbox 360 dominating the console generation in sales, and the two didn't come close to each other until that generation's end. Though they learned from their mistake when it came to the PlayStation 4, they still repeated it with the Vita. A $300 asking price for a portable device was simply too much, and it showed. Units did not sell, which meant that games did not sell. Gravity Rush, Assassin's Creed Liberation, Tearaway and the Danganronpa series all came to PlayStation consoles due to poor sales. Critics applauded these games, and they deserved to reach a larger audience. It's truly a shame that they couldn't find that audience on the platform they launched on. The Vita's problem had nothing to do with the quality of the device itself, because it truly was well-made. The lack of games was the dagger in the Vita's back, and it came because of that brutal $300 launch price. It's illogical to make more games for a dead platform, and at $300, the Vita was dead on arrival. By the time a price cut finally came, gamers had moved on.
Step 3: Creating A PlayStation-Phone Hybrid (again)
If Sony were to take another crack at making a handheld, they should try to forge an entirely new path. Further, for inspiration, they can look in the mirror. Did you have an Xperia Play? If not, I totally don't blame you (if you did... wow, I'm so sorry). Initially advertised as the PlayStation Phone, the Xperia Play was one of the first big steps toward incorporating gaming into cell phones. Like many Sony products, it failed to catch on. This doesn't mean the idea was bad, though. I would argue that it was just ahead of its time, and today, a similar product could thrive. With mobile gaming as huge as it is right now, what incentive is there to buy a device that only plays games? The answer would normally be exclusive titles that could only run on such a system, but in the case of the Vita, that failed to work out. A PlayStation phone/handheld hybrid would allow Sony to capitalize on the wildly successful world of mobile gaming. They'd be able to create higher quality mobile games that feel like full-on PlayStation titles, as well as offer all the advantages of a modern cell phone. Mobile gaming would grow to become better, and PlayStation fans would no longer be inconvenienced by having to carry around both a PSP/Vita and their mobile phone.
Step 4: Profit
Even now, as I put my PlayStation Vita away for what will likely be the last time, I can't help but think of what could have been. With free mobile games like Candy Crush and Pokémon Go taking the world by storm, a regular PlayStation handheld like this no longer makes sense. A hybrid device has potential, though. If it were to launch at a fair price and garner full support from some of Sony's skilled first party studios, the PlayStation Phone could find success where the Vita failed. It's an unlikely route to go, but if Sony were to take it, they might avenge the unnecessary death of the handheld that I once had such high hopes for.
During a particularly boring day, I began to do what I always do: think about video games. Eventually I remembered the PS Vita, and I felt the need to write something about it. What you just read is the result of that writing. While I know the likelihood of a PlayStation Phone becoming reality is extremely low, I still had a great time theorizing about what it would be like. Plus, who knows? If Knack 2 can happen, anything can!
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ABOUT TLFG
MATCH TICKET INFO
A BIT FURTHER AFIELD
TLFG: Saturday 9 June 2018
Ten days since getting underway, the CONIFA World Football Cup has reached its final day.
Conducted at a breathless pace, the tournament has been a joy to watch as teams representing 'nations, de-facto nations, regions, minority peoples and sports isolated territories' have put themselves firmly on the football map, certainly in the minds of all those watching.
With an average of over four goals per game, a number penalties, red and green cards - entertainment has been in rich supply.
There was drama too in the form of the Ellan Vannin/Barawa 'ineligible' player row which threatened to derail the tournament at the end of the group stage and the effects will still be felt on Saturday as the 15th/16th Placement Match has been turned into a dead rubber.
The form book has also gone out the window with a number of shocks and upsets along the way. Neither the current leaders in the rankings nor the reigning world champions made it to the semi-finals and a team who filled in at short notice have gone all the way to the last two and could well win the whole thing.
Northern Cyprus make it 2-2 against Padania shortly before scoring the winner which sent them to Saturday's final
The fans of various nations have also made their mark on the tournament - be it the music and colourful clothing of Matabeleland and Tibet, the pyro of Szekely Land or simply the large numbers of vocal fans from Northern Cyprus and Abkhazia.
If you haven't been to a game yet, Saturday is your last chance and Enfield is the place to be. If you want, you can get tickets to watch the Third Place Play-Off (3pm) and Grand Final (6pm) played back-to-back and then watch the Closing Ceremony afterwards. We should get the biggest crowd of the tournament by some distance and the atmosphere should be great.
You can buy tickets in advance here or you can take a chance and pay on the gate.
There is also a range of merchandise you can order online or buy at the stadium - CONIFA is a not-for-profit organisation run by volunteers, all purchases will make a difference.
For a flavour of what to expect from a Northern Cyprus game at Enfield Town watch this fine piece by
'Two Men In Search Of The Beautiful Game'
My tournament so far has seen me watch Northern Cyprus draw 2-2 with Abkhazia, Matabeleland beat Tuvalu 3-1 and on Thursday I went to the thrilling semi-final between Northern Cyprus and Padania where I took the photo above.
I've got my ticket for the final and am genuinely rather excited. The buzz around the tournament has been great and I believe CONIFA are set to announce who will host next year's European Football Cup before the end of the tournament - the last I heard was that County of Nice and Nagorno-Karabakh were the two main contenders.
Don't forget that individual membership of CONIFA is available to anyone for 25 euros giving you the chance to vote on all kinds of things at the AGM - I got mine a couple of months ago.
Copies of the official programme are available at grounds and a rather good
There are eight matches in the tournament on Saturday with several grounds hosting two games so a double or triple, at a push, is possible. The only realistic possibility of this is if you shuttle between Fisher, Haringey and Enfield but a car or bike will be required to see all three games. Please note, that a significant part of the London Overground network is shut on Saturday making travel to games at Haringey and Enfield less straightforward than normal but more on that below.
As always, please make sure you check with clubs before you travel just in case a game has been called off or venue has been changed. Also, please let me know if anything is wrong or missing.
Details on all of this day's games can be found on the following match maps. If you've never used them before, please note that when there is more than one match at a specific ground you'll only be able to see individual match pins if you zoom right in. If you don't, the pins obscure each other and you might miss them. To avoid this, you can also scroll down the list of games on the drop down menu at the top of the map page to make sure you get all the information.
Donate to TLFG's coffee-drinking fund here
MATCH MAP 9 JUNE
Saturday 9 June
CONIFA World Football Cup Final Day
If you've come late to this, you might not be aware that after the group stage no-one gets entirely eliminated. Those who finished in the top two in their groups move forward to the quarter-finals in the traditional sense while the remaining eight, rather than go home, move into a placement competition to see who finishes in 9th-16th.
With the quarter-finals completed, all the losers from those games move into the placement competition for 5th-8th, while the losers of the first round of placement games move into a new contest for 13th-16th. After the semis, we get to see who will contest the third place play-off too. This guarantees that each team which makes the journey to London plays six games and gets their money's worth.
Tickets are £12 adults, £6 U18s per game on the gate. Seeing two games at two different grounds is possible on Saturday with matches at taking place at 12pm, 3pm and 6pm. If you're prepared to shave off a few minutes at the end or start of a game, squeezing in a third could be done as well if you go to the 12pm game at Fisher, the 3pm one at Haringey and the final at Enfield at 6pm but you will need your own transport to have any chance.
Please be aware that a large chunk of London Overground is shut on Saturday so there will be no train service to White Hart Lane, Southbury or Enfield Town. Therefore if you are travelling to the games at Haringey Borough or Enfield Town by train you are advised to catch a Piccadilly Line train to Wood Green for the former or a Great Northern service from Moorgate to Enfield Chase for the latter.
Here is a rundown of what's on:
Grand Final and Closing Ceremony
Karpatalya v Northern Cyprus @6pm - after 10 days of international competition, the CONIFA World Football Cup comes to an end with this intriguing contest at Enfield Town's Queen Elizabeth II Stadium. These two started the tournament by playing each other in Group B on the opening day. Karpatalya, made up of ethnic Hungarians based in Ukraine, came in as late replacements for Felvidek so not many knew what to expect of them. When they held one of the favourites to a 1-1 draw, people started to take notice. Two games later, they had won the group after beating reigning champions Abkhazia and Tibet. They notched up further victories over Cascadia and Szekely Land to make the final, meaning the only team they failed to beat were Northern Cyprus.
Mustafa Boratas's side look the stronger on paper and are one of the big boys of CONIFA. Runners-up in last year's European Football Cup, they arrived in London at number three in the rankings. The draw against Karpatalya was followed up by a win over Tibet and another draw against Abkhazia. However, with this less than stunning group stage performance behind them they then thrashed Barawa 8-0 and came from behind to beat Padania, who looked like champions up until that point, 3-2 in the semi-finals.
This game will undoubtedly be close again but that doesn't mean there won't be goals - this tournament has produced loads with 157 from 38 games (excluding the two friendlies following the exit of Ellan Vannin) which is an average of over four per match. With a large Turkish Cypriot community based in north London and all the other squads and many of their fans present for the Closing Ceremony after the game, there should be a very decent attendance and fantastic atmosphere. Don't miss out - book your ticket online now and print it out before you set off.
Third Place Play-Off
Padania v Szekely Land @3pm - the pre-tournament rankings suggested that Panjab or Padania, the top two, would make it to the final. As it turns out neither of them did. Panjab never got going but more on them later. Padania, on the other hand, came flying out of the blocks and crushed Matabeleland 6-1 in their opening game. They then put eight past Tuvalu before beating Szekely Land 3-1 in a more challenging fixture to win the group. In the quarter-finals they put an end to Panjab's title hopes before meeting Northern Cyprus in the semis. They led twice in the match before conceding two late goals to lose 3-2. On reflection it looks as if Padania had a considerably easier group than Northern Cyprus and perhaps their huge wins distorted my and many others views of just how good they were. Szekely Land are by all accounts a very competent side and play some good stuff but, as already mentioned, they lost pretty comfortably to the Italians on Sunday so might struggle here. However, the disappointment of their semi-final defeat could weigh heavily on the Padania squad and they might struggle to motivate themselves for this one
5th-6th Placement Game
Cascadia v Panjab @3pm - Cascadia, the sole representatives from North America, had never played a game before arriving at this tournament so it was no surprise when they lost 4-1 to Ellan Vannin in their opening game. However, they bounced back superbly with back-to-back wins over hosts Barawa and Tamil Eelam. They thrashed the latter 6-0 to edge ahead of Ellan Vannin on goal difference and make the quarter-finals.Sadly, their progress ended there when they came up against eventual finalists Karpatalya but they still gave a good account of themselves in a 3-1 defeat. They returned to winning ways in their first placement match, thrashing a previously impressive Western Armenia side 4-0 so come into this game in good form. As mentioned above, Panjab arrived in London as CONIFA's top ranked team so a possible fifth-place finish must be seen as a disappointment. With only two wins from five games they certainly don't deserve any more but when they click they really click - the two wins came against Kabylia (8-0) and Barawa (5-0). This could be one of the games of the day
Barawa v Western Armenia @3pm - despite being tournament hosts, Barawa weren't expected to do too much with some of their warm-up games ending in heavy defeats. However, with two wins over Tamil Eelam and Ellan Vannin they ended up topping Group A. Unfortunately, the 'ineligible' player complaint by Ellan Vannin then kicked off and although exonerated by CONIFA , the side have never been the same again and have since been heavily beaten by Northern Cyprus and Panjab. It's been a similar tale for Western Armenia who won Group D, beating Panjab in the process. The two games since the group stage have both ended in 4-0 defeats as ill discipline, among other things, has taken its toll. When you get to this part of the placement competition, it's quite hard to predict what will happen as all the teams are in bad form and losing games - hopefully this will lead to an open game
9th-10th Placement Game
Abkhazia v Kabylia @3pm - Beslan Adzhinzhal's side began the competition as reigning World Football Cup champions having won the event two years ago when they hosted it. After a solid 3-0 win over Tibet on the opening day, it looked like they could mount a challenge again. However it turned out that they'd ended up in what will probably be seen with hindsight as the group of death alongside the two eventual finalists Karpatalya and Northern Cyprus both of whom they failed to beat. Going out in the group stage was not what they'd planned and the deflation among the players was obvious at full-time after the 2-2 draw with Northern Cyprus. Thankfully they haven't let their heads drop and have comfortably won both their placement matches. Kabylia, on the other hand, had a poor group stage but have come alive in the placement competition. Accruing just one point from their first three games, they've since beaten Matabeleland (on penalties) and thrashed Tibet 8-1. For me Abkhazia's extra bit of class should win out
11th-12th Placement Game
United Koreans in Japan v Tibet @12pm - UKIJ haven't done a lot wrong in this tournament, playing some technically good football and defending well so they'll probably feel a little hard done by that 11th is the best they can hope for. Having lost only one of their five matches they have proven to be tough to beat but their weakness has been scoring goals. They drew all three group matches but only scored one - this was enough to knock them out. They thrashed Tuvalu heavily in the first placement game but then drew a blank again against Abkhazia on Thursday. They should get to end the competition on a high though as Tibet, like Tuvalu, have been pretty bad with their best result so far being a 3-1 loss to Northern Cyprus. For Tibet, though, taking part has been a huge success in itself. Pressure has been exerted by China and various sponsors to block them playing matches in recent years so to make it to London and not come last is a big achievement. They and their supporters have brought a lot of colour and pageantry to games and will no doubt put on a good show here at Fisher's ground in Rotherhithe where you could begin a three-game groundhop
Matabeleland v Tamil Eelam @12pm - African side Matabeleland have been one of the cult sides of the tournament thanks in part to an engaging crowdfunding campaign before and during the tournament. With some great merchandise available, many locals were turning up in their replica shirts to cheer on their adopted team. Manager Justin Walley has got his team playing with a good spirit and although a bit raw at times, the players' heads never seemed to drop. With one win from four they certainly don't deserve to be finishing last. They even managed to beat Chagos Islands in a hastily arranged friendly on Thursday so it's kind of two from five. Tamil Eelam were having a wretched campaign, losing four and scoring none, until Thursday when they came form 3-1 down to beat Tuvalu 4-3 with a performance that will ensure they avoid the ignominy of finishing last
15th/16th Placement Game
Chagos Islands v Tuvalu @12pm - if Ellan Vannin hadn't quit the tournament over the 'ineligible' player row earlier in the week then this match would have quite a bit riding on it. Sadly, though, they did and left a big gap in the fixture list for the second half of the competition - something which could see them expelled from CONIFA at the organisation's next AGM. In their place have come a Turkish All-Stars XI on Tuesday and since then the Chagos Islands have filled in. Having lost every single game, Tuvalu are good value for a last-placed finish but it's a shame they won't get to test themselves against Tibet who have also lost every game but find themselves in the 11th/12th place game because they received a bye after the Manx side failed to turn up for their match against them. Technically this game is being classed as a friendly and Tuvalu will finish in 15th whether they win or lose
If you're going to see a game, whether you're a local or a visitor, please let me know what you've been up to. If you're interested in reviewing a ground in the London area for this blog then get in touch. I also very much welcome photos of your football travels.
Got any questions about visiting London? Don't hesitate to ask - be they football or more general travel/touristy queries. I do not charge for this advice like some other sites so don't hold back!
You can contact TLFG through the comments section below or via Facebook, Twitter or even by good old email.
Has this blog been helpful? Donate to TLFG's coffee-drinking fund here
Posted by James Doe at 11:14 0 comments
TLFG: Thursday 7 June
This week TLFG is taking a slightly different format.
That's down to the fact that London is currently hosting the CONIFA World Football Cup and we only know what's going on at short notice so I'm going to aim to produce a fresh guide every other day for the rest of this week to reflect what's going on.
If you haven't heard of it, the tournament is for teams representing 'nations, de-facto nations, regions, minority peoples and sports isolated territories' which are not recognised by FIFA.
Competitors in the 16-team tournament include Northern Cyprus, Panjab, Tamil Eelam and Tibet with every continent bar South America represented.
There have been one or two familiar faces among the squads and former Premier League referee Mark Clattenburg has officiated at some of the games.
Tuvalu will be hoping to avoid the dreaded 15th/16th place play-off
Also on the refereeing side of things, a green card has been introduced and is shown to players guilty of dissent or diving - it will lead to them being immediately substituted.
Matches are taking place at 10 different non-league grounds in and around London with the final at Enfield Town on 9 June.
Full information about fixtures and tickets can be found here.
There is also a souvenir programme for the tournament which can be ordered in advance and also a range of merchandise - as CONIFA is a not-for-profit organisation run by volunteers, all purchases will make a big difference.
So far, I've seen Abkhazia draw 2-2 with Northern Cyprus - a result which sent the reigning champions into the placement competition and Matabeleland's 3-1 win over Tuvalu. Next up for me is one of the semis on Thursday and the final on Saturday.
'Two Men In Search Of The Beautifual Game' take in a group game at Enfield Town
The big news since I last wrote is the unholy row which blew up after Ellan Vannin got knocked out in the final group game by Barawa who they then accused of having fielded and ineligible player.
After a lot of to-ing and fro-ing, CONIFA rejected their appeal and ultimately Ellan Vannin quit the tournament in protest. As a result, a couple of sides have been drafted in at short notice to play friendlies and fill the gaps in the fixture list.
I know many of you have made it to games too and there have been some great photos appearing on social media. We're also lucky enough to have a video piece from our friends at 'Two Men In Search Of The Beautiful Game' too which I've attached above.
The atmosphere at these games has been great with singing, dancing, flag waving, drum beating and even some naughty smoke bombs which we all, not so secretly, love.
Copies of the official programme can be ordered now
There are eight matches in the tournament on Thursday with several grounds hosting two games so a double, triple or even quadruple header is possible. The only realistic possibility of this is if you stay in south London and shuttle between Bromley, Sutton and Carshalton but a car or bike will probably be required to see four games.
Details on all of this week's games can be found on the following match maps. If you've never used them before, please note that when there is more than one match at a specific ground you'll only be able to see individual match pins if you zoom right in. If you don't, the pins obscure each other and you might miss them. To avoid this, you can also scroll down the list of games on the drop down menu at the top of the map page to make sure you get all the information.
CONIFA World Football Cup Semi-Final Stage
With the quarter-finals completed, all the losers from those games move into the placement competition for 5th-8th, while the losers of the first round of placement games move into a new contest for 13th-16th. This guarantees that each team which makes the journey to London plays six games and gets their money's worth.
Tickets are £12 adults, £6 U18s per game on the gate. Seeing three games at up to three different grounds should be possible on Thursday with matches at Bromley, Sutton and Carshalton taking place at 12pm, 3pm, 5pm and 8pm. If you're prepared to shave off a few minutes at the end or start of a game, squeezing in a fourth could be done as well if you go to the 3pm game at Sutton and the 5pm one at Carshalton. Here is a rundown of what's on:
Northern Cyprus v Padania @5pm - after a few mismatches in the earlier rounds, the semis have thrown up a couple of really heavyweight fixtures. The first sees the big two from Europe go head-to-head for what should be an intriguing game. Having already knocked out CONIFA's top ranked side Panjab, Padania would now appear to be the tournament favourites. The Italian side have scored 19 goals and conceded just two from their four games so far and are looking formidable. Northern Cyprus sit just behind Padania in the rankings and have a score to settle after losing to them in the European Football Cup Final last year on home turf. That game went to penalties and although the island side have only won two of their four games so far, it's likely to be tight again
Karpatalya v Szekely Land @8pm - the other game is a derby between ethnic Hungarians from Ukraine and Romania respectively. The former only came into the tournament as late replacements for Felvidek but have more than held their own, coming top of a group containing Northern Cyprus and reigning champions Abkhazia. On Tuesday they beat Cascadia 3-1 to make it to the last four. Szekely Land finished second to Padania in the group stage meaning they had to face a tough match against Group D winners Western Armenia. The side from the Caucasus region had a quarter-final to forget and got thrashed 4-0 setting up this mouthwatering tie where the support should be loud and colourful
Placement Semi-Finals for 5th-8th place
Barawa v Panjab @3pm - having been involved in the 'ineligible' player row with Ellan Vannin the day before, Barawa probably went into their quarter-final with Northern Cyprus in unsettled mood. The performance was way below par for the team who had won Group A and they got demolished 8-0. For the top-ranked side, Panjab have had a disappointing campaign. Stuttering through the group phase with one win, one draw and one defeat, it was no real shock when Padania knocked them out on Tuesday. They should still have too much for Barawa
Cascadia v Western Armenia @3pm - little was really expected of either of these two ahead of the tournament, certainly not by the bookmakers, so both have done really well to have got this far. Reports suggest this could produce a real clash of styles with Cascadia playing some good football at times whilst Western Armenia are, shall we say, a little more disruptive in the way they go about things
Placement Semi-Finals 9-12th place
Tibet v Kabylia @12pm - after a pretty horrific group stage, it's a credit to both teams that they've avoided the 15th/16th place play-off. In Tibet's case that's because Ellan Vannin decided to pull out over the 'ineligible' player row, giving the Asian side a bye to this stage. However, the North African side managed to squeak past Matabeleland on penalties to guarantee they won't finish last. Both sides have had strong support in previous games so there could be a reasonable attendance for this early kick-off
Abkhazia v United Koreans in Japan @6pm - these sides were somewhat unlucky not to make the quarter-finals after coming third in what turned out to be very competitive groups. Put up against two of the leakiest defences in the tournament in the opening round of the placement competition, Abkhazia and UKIJ lashed in 11 goals between them on Tuesday as they set up this match. Technically they are both decent sides and this should produce an entertaining game
Placement Semi-Finals 13th-16th place
Tamil Eelam v Tuvalu @12pm - having scored just one and conceded a whopping 38 goals between them, these two really have been the whipping boys of the tournament. However, one of them will avoid playing in the 15th/16th place play-off. I watched Tuvalu play on Sunday and they weren't that bad, taking the one goal they have scored very well. I'm backing them them to progress
Matabeleland v Chagos Islands @12pm - with Ellan Vannin having pulled out of the tournament on Tuesday, CONIFA managed to hastily arrange a Turkish All-Stars XI to play Tibet in a friendly and on Thursday they've managed to get Chagos Islands, a CONIFA member, to fill in here. This is officially being classed as a friendly and is being staged so that ticket holders have a game to watch. Presumably, win or lose, Matabeleland will progress to the 13th/14th place play-off. UPDATE (07/06/18): it was announced on Wednesday that Liverpool legend Bruce Grobbelaar will start in goal for Matabeleland in this game
TLFG: Tuesday 5 June 2018
Competitors in the 16-team tournament include Ellan Vannin (aka the Isle of Man), Northern Cyprus, Panjab, Tamil Eelam and Tibet with every continent bar South America represented.
The Conifa World Football Cup is coming told London - find out more
Northern Cyprus frantically defend as Abkhazia push for a late winner
I know many of you made it to games too and there have been some great photos appearing on social media.
There are eight matches in the tournament on Tuesday with several grounds hosting two games so a doubleheader is very possible but jumping between grounds will be tough as they're too far apart. The only realistic possibility of this will be between Bromley and Sutton but a car or bike will be required to have any chance.
Tuesday 5 June
CONIFA World Football Cup Quarter-Final Stage
With the group stage complete, the competition effectively splits into two parts. Those who finished in the top two in their groups move forward to the quarter-finals in the traditional sense while the remaining eight, rather than go home, move into a placement competition to see who finishes in 9th-16th. This guarantees that each team which makes the journey to London plays six games and gets their money's worth.
Tickets are £12 per adult per game on the gate. Seeing two games in a day is still very easy to do but you'll probably have to stay in one ground to watch them as the distances between grounds, especially if extra-time is needed, should be too far. Here is a rundown of what's on, including a brief profile of each team:
Barawa v Northern Cyprus @3pm - as hosts and probably the best supported side respectively, for the sake of the tournament it was good to see these two make it through. Barawa caused a bit of an upset by beating Ellan Vannin on Sunday to top the group so will come into this with some confidence. Northern Cyprus were runners-up in what turned out to be a tough group and should start as favourites here
Padania v Panjab @3pm - with the only 100% record left in the competition, Italian side Padania are looking like strong favourites for the title. With 19 scored and just two conceded from their three group games, they're going to take some beating. Panjab came into the tournament at the top of CONIFA's rankings and were runners-up in the last WFC and after thrashing Kabilya 8-0 in their first game it looked like they were going to challenge again. However, they followed this up with a loss and a draw to squeak through ahead of United Koreans in Japan. They're going to have to raise their game considerably to make the semis
Cascadia v Karpatalya @6pm - representing a region in the Pacific North West of North America, Cascadia have done incredibly well to get this far. With little experience of playing together prior to the tournament, it was no surprise that they lost comfortably to Ellan Vannin in their opener. However, come the end of the weekend, they'd won back-to-back games including a 6-0 trouncing of Tamil Eelam to dramatically edge out Ellan Vannin on goal difference. As late replacements for Felvidek, no-one knew what to expect of Karpatalya. Made up of ethnic Hungarians based in Ukraine, they surprised quite a few by storming through Group B to finish above Northern Cyprus and Abkhazia dropping only two points in the process - the smart money would appear to be on them
Szekely Land v Western Armenia @6pm- I really like the look of this match partly because it features Western Armenia who I tipped last week to be dark horses for the title at 25/1. Harutyun Vardanyan's side impressed in Group D with some 'professional' performances to thwart the likes of Panjab who struggled to get to grips with them. I also noted that Szekely Lane were 'a team on the up' and they played some good stuff in their first two games before easing off and losing quite comfortably to Padania on Sunday. They also have some great ultras who were out in force on Saturday with their smoke bombs and drums - hopefully they do midweek games too
Placement Quarter-Finals for 9th-16th place
Ellan Vannin v Tibet @3pm - at the start of play on Sunday Ellan Vannin (aka Isle of Man) were one of only three teams with a 100% record so looked like certs to make the quarter-finals. However, they lost to Barawa and Cascadia thrashed Tamil Eelam 6-0 to achieve a huge swing in goal difference to edge them out by a tiny margin. The disappointment for all connected with the Manx team must have been huge as many had them as pre-tournament favourites. Finishing ninth is now the best they can hope for but they'll need to win three games to secure it. The first match is against Tibet who, despite huge support, have been one of the whipping boys of the tournament and they'll do well to avoid finishing last. UPDATE (05/06/18) - Ellan Vannin have withdrawn from the tournament because of a dispute over an 'ineligible' player fielded against them by Barawa earlier in the competition
Matabeleland v Kabylia @3pm - these two conceded goals by the bucket load in the group stage (12 each) but still managed to pick up four points between them. Matabeleland have won a lot of friends and generated a lot of media interest with their crowdfunding campaign to get them to the tournament and the joyous way they've played their games and celebrated afterwards despite some heavy defeats. They also include Liverpool legend Bruce Grobbelaar among their squad and although he's primarily a coach, he almost made it on as a sub on Sunday. Their supporters also sing and dance their way through games adding that bit extra to the experience. Fellow African side Kabylia managed only a point from their three games but had arguably a tougher group - it will be interesting to see how this goes
Tamil Eelam v Abkhazia @6pm - like Tibet, Tamil Eelam have really struggled at this tournament. Another team to have conceded 12 goals, they are one of three teams to end the group stage with zero points. To say another defeat here looks certain is an understatement. Abkhazia are the reigning WFC champions and it's a surprise to see them having to play placement football at such an early stage. I can only see this going one way
Tuvalu v United Koreans in Japan @6pm - with the worst record in the tournament, Tuvalu are living up to their rank outsider status very well indeed. Scoring one and conceding 15, the Pacific Islanders have found life tough in London. Having watched them on Sunday against Matabeleland they didn't seem that bad although a number of their players looked far more suited to rugby which the region is far more famous for. UKIJ on the other hand were the only side in the group stage who drew every game and from what I hear were technically good and well disciplined but struggled to create chances (scoring only one) - this looks likes being the game when they get to cut loose
Map of teams covered by TLFG
The Cold End
THE BIG BELARUSIAN PREMIER LEAGUE 2021 SEASON PREVIEW
Twohundredpercent
As Bad As Things Got: Wolverhampton Wanderers, 24th November 1986
The Ball is Round
Price is only an issue in the absence of value
Two Men In Search Of The Beautiful Game
Classic 0 - 0 - Leverstock Green FC Vs Biggleswade United FC, Spartan South Midlands Football League Premier Division, Pancake Lane (20/10/20)
TLFG on Facebook
The London Football Guide
I'm a QPR fan and follower of Harrow Borough in the Southern League. In 2010 I set up Non-League Day to help promote semi-professional and grassroots football. I'm hoping that TLFG will help provide a similar boost for football clubs around the capital. I also worked at BBC Sport for 10 years before it relocated to Salford but decided not to go, such was my love of London.
Grounds I have visited
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45 Ruminations Per Megabyte
Every life has a soundtrack. This is mine.
The guy responsible for all of this
Glittering prizes and endless compromises: Rush, “The Spirit of Radio” (1981)
November 15, 2016 June 16, 2020 / Len
Sometimes a song has two distinct memories, and it’s hard to decide which one is more powerful. Today is your lucky day, for you get both of them.
In 1982 I was a freshman at Victor J. Andrew High School in Tinley Park, Illinois, a suburb of Chicago. My formative years were spent between Tinley Park and Orland Park, the suburb just to the north. I lived there in total from 1972 until getting my first apartment/job/starting that whole cycle in 1989. The bulk of my friends growing up all lived there. To say that it was the center of my universe would not be a misstatement.
There were three high schools in our district, and only enough school buses to go around if they dramatically staggered the start times of the schools. For my first two years in high school, that meant a first period class at 7:20 am. In a more practical sense, it meant standing at the bus stop (in the dark, for a good portion of the semester) at 6:45. Each morning I would get on the bus, sit by myself (until someone got on closer to the school), and drift back to sleep, keeping one eye open to make sure that one of the “older kids” didn’t try anything funny. We freshmen were warned of “initiation rites” by seniors. Either the rumors were just that – rumors – or I didn’t appear interesting enough to be messed with.
Anyway – the juniors and few seniors on the bus (most drove themselves and wouldn’t be caught dead on the bus) looked so much older, more worldly, and more mature than we were. It was probably the smoking, now that I think about it. One in particular on the bus looked a bit like Jeff Spicoli and carried a huge boombox radio with him each morning. Apparently his coping ritual was to get on the bus and pop in the cassette of Rush’s Permanent Waves album. It timed out so that each morning I got on the bus the album was in the same place – the guitar solo in “The Spirit of Radio.” I had no idea what the song was, since I hadn’t heard of Rush at that point, and I always missed the beginning of it. But if I got on the bus and heard the guitar licks, all was normal. It wasn’t until many years later, when I was in college radio, that someone threw “Spirit” on. Once I heard that familiar guitar strain I bounded down the stairs to the studio to figure out the name of the song that had befuddled me for five years. I slept well that night.
In 2009 I was into my third (and final) year programming oldies station WFGR in Grand Rapids. I had come aboard in 2007 to take the station, which was running a satellite-fed and poorly-programmed selection of music, to new ratings heights. The problem was the audience was too old for the company that owned the station at the time, Regent Communications. We had a lot of audience, but they weren’t the right audience. You know, young people. Despite the fact that the buying power of the Baby Boomer demographic – those who would have been between 45 and 64 at the time – was actually stronger than Gen Xers (and much stronger than Millennials), the company wanted the station to skew younger. So, I was given the orders to kill the station in favor of a “classic hits” presentation – newer, more rock, less pop, add the 80s, etc.
No research was done in the preparation for the format change. No focus groups were conducted to see what the station should sound like. Instead, our group’s operations manager picked out a bunch of records he liked, and we argued about my choices for a softer, more adult presentation. I wanted something like the Drive in Chicago, and he wanted more Motley Crue. Our corporate vice-president went through and removed all of the songs he thought were “unfamiliar.” (This is the guy who complained when I played “96 Tears” on the oldies station, arguing that “no one knows that song.” We had a chat about charts, what it meant to have a national #1 song, and why a band from Saginaw would be played in Grand Rapids even if they didn’t.) The first casualty from my list was “When the World is Running Down, You Make The Best of What’s Still Around” by the Police. “We are not here to educate listeners about music,” he said. I realized that the game was up, and that I’d eventually become a casualty of this sort of thinking. Start packing.
Monday, June 29 was to be the day of the launch. I finished up my morning show with “American Pie,” took a breath, said a quiet farewell to the station I had constructed largely from scratch, and pushed the button signaling the format change. The first song I chose to play? “The Spirit of Radio.” I walked into the conference room, which was full of the salespeople that wanted to sell Mustangs instead of Buicks, despite getting jobs selling Buicks, in a sense. They applauded. I stood in the front of the room, dressed entirely in black, and said “You now have your classic hits station. Good luck.” They completely missed the irony of the lyrics playing behind me.
“One likes to believe in the freedom of music/But glittering prizes and endless compromises shatter the illusion of integrity.”
By the time it got to “echoes with the sounds of salesmen,” I had quietly excused myself to my office and began brushing up my resume. I’d be working across the street, getting oldies back on the air, within two months.
You can find the words of the prophets written on the stadium walls by clicking here.
UPDATE (June 15, 2020) – Rush put together an animated video version of this song as a tribute to Neil Peart. It’s also a fantastic tribute to radio itself. You can see it here.
growing up in the burbs, radio
1980s, 1981, Grand Rapids, suburbs
← One day in college radio: November 14, 1988
Who Did It First? PhD, “Little Suzi’s On The Up” (1981) →
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NEWS AND EVENTSadvocates2018-12-05T09:23:50-07:00
Golf 4 Advocates
Join us for our 5th annual Golf 4 Advocates Tournament on August 26th, 2016. Entry includes green fees, cart & lunch, and practice range opens at 8 AM. Proceeds will enable Advocates to provide supportive opportunities through intervention, education, advocacy and community awareness.
For sponsorship opportunities or to register a team, please call our office at 970-879-2034.
Senior Prom “Relive the Magic”
Please join us for our inaugural Senior Prom event! This is an event you won’t want to miss- a fun night with DJ, dancing, prizes and drawings, all while supporting a great cause! Advocates has served more than 8,000 survivors of domestic and sexual violence over the past 32 years. 300 victims were provided services in 2015. These numbers illustrate the important role that Advocates plays in our community, and the necessity to continue our work. So come dance the night away…costumes are encouraged!
Saturday, September 10th 7:30 PM-11:30 PM at the Steamboat Grand Ballroom
Prices as follows: $50/lonely single, $75/awkward couple, $1,000/VIP table of 10
Purchase tickets at Alpine Bank, All That, and the Chamber
Steamboat Springs — Local advocate for sexual violence survivors Diane Moore was recognized late last month for her work in the field throughout the past 30 years.
The executive director and a founding member of Advocates Building Peaceful Communities in Steamboat Springs, Moore also was involved in the grass-roots formation of the Colorado Coalition Against Sexual Assault, a statewide membership coalition that works with regional organizations to provide support and resources to survivors of sexual assault….Read more
Our View: Tackling tough issues
Steamboat Springs High School recently hosted an important and timely program titled “Going Out Tonight,” which focused on dating violence and sexual assault. The program involved upperclassmen and sparked a conversation among students that centered around awareness of the problem and steps that could be taken to prevent it.
Sexual violence is not a subject easily broached but it is a growing epidemic, especially on college campuses. According to the Centers for Disease Control and Prevention, one in five women reported experiencing rape at some time in their lives, and one in 20 women and men experienced sexual violence other than rape. The population at the highest risk for being assaulted are females ages 14 to 25. Compounding the problem is the fact that a majority of these incidents never are reported to law enforcement officials.
And for those who think Steamboat is immune from these sobering statistics, they are wrong. According to Diane Moore, executive director of Advocates Building Peaceful Communities, the organization that brought the “Going Out Tonight” program to the high school, there have been 10 local reports of sexual assault since Jan. 1, which she labels as a “pretty high” incident rate. Of those reports, several involved females younger than age 20….Read more
Take Back the Night to raise awareness of sexual violence in community
By Laura Mazade
On Wednesday night, a group of people will make its way from the Steamboat Springs Police Department to the downtown Routt County Courthouse to bring light to a complex issue.
This is the first year Steamboat Springs will host Take Back the Night to raise awareness of sexual violence in the community.
The Take Back the Night Foundation, according to its website, serves to create safe communities and respectful relationships through awareness events and initiatives. The foundation seeks to end sexual assault, domestic violence, dating violence and abuse.
Advocates Building Peaceful Communities, a nonprofit organization in Steamboat Springs, is spearheading the effort, and Executive Director Diane Moore said bringing this event to town is a way for people to learn about Advocates while also raising awareness about sexual violence…Read more
Doc Willett awards: Diane Moore always on call to help someone cope with trauma
Steamboat Springs — Alice Klauzer can’t recall a single dinner she’s had with Diane Moore that wasn’t interrupted by Moore’s cellphone or pager.
“She’s always on call,” Klauzer said as she recalled those many meals with her friend that were paused when Moore had to respond to a crisis, consult with law enforcement or go to accompany a rape victim at Yampa Valley Medical Center late at night.
Moore’s dedication to her job continues to impress her longtime friend.
“I could not do what she does,” Klauzer said.
When she learned Moore, the executive director of Advocates Building Peaceful Communities, will be presented Friday with the Health Care Community Advocate Award from the Healthcare Foundation for the Yampa Valley, Klauzer reacted with three words:
“It’s about time,” she said.
The award is given each year to individuals who channel the legacy of Doc Willett, who for 56 years tended to patients and made house calls in Routt County by buggy, sleigh, horseback and automobile. Read more…
Advocates given award
Advocates Against Battering and Abuse was named recipient of the Yampa Valley Community Foundation’s Sterling Anniversary Award in health and human services.
A $5,000 check was presented at the Annual Hospice Dinner on Monday night. First National Bank of Steamboat Springs, Jim and Susan Larson and Paula Cooper Black sponsored the award in partnership with Passport Club Grants Fund (made possible by the Steamboat Ski and Resort Corp.).
Scott Gordon, president of Alpine Bank and vice chairman of the Yampa Valley Community Foundation, presented the award to Diane Moore, executive director of Advocates.
“Without this organization, some of our residents would likely not survive to use other services such as those offered by Hospice,” Gordon said. “We received over 38 letters nominating 17 community organizations in the health and human services field making it a difficult decision for our grant committee. They chose to select a smaller organization that crosses social, economic and cultural lines on a daily basis.” Read more…
Diane Moore to receive local honor: Advocates executive director will be given Hazie Werner award
Steamboat Springs — Those who know her couldn’t imagine what Advocates Building Peaceful Communities would be without Diane Moore.
They said the organization probably wouldn’t exist. “I don’t think Advocates would even be here without Diane’s passion and leadership,” said Susan de Wardt, an Advocates volunteer for more than six years. “Without her dedication at the beginning, it wouldn’t be what it is.” In 1983, Moore became the first executive director of the organization that provides services for victims of domestic abuse and sexual assault, and education for local students.
On Tuesday, Moore will receive the Hazie Werner Award for Excellence in a reception that begins at 5 p.m. in the Mountain View foyer at The Steamboat Grand. Steamboat Ski and Resort Corp. established the award in 1989 to recognize women who excel in their fields. “Through all her community giving, activism and personal perseverance, Diane has exemplified Hazie Werner’s incredible dedication and community loyalty,” Ski Corp. President and CEO Chris Diamond said in a news release. “Diane embodies the spirit of giving back to your community and clearly has made Steamboat Springs a better place.” Moore, 60, said she was incredibly honored to win an award named for the late Hazie Werner, a longtime Yampa Valley resident who gave so much during her life.
“She embodied lots of wonderful things about community, family and giving,” Moore said. “She was such a beautiful soul. Being honored in some small way, perhaps having some of those characteristics, is pretty humbling.”…Read more…
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Filters: Author is C. R. Lunder [Clear All Filters]
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Allentown School District & Bloomsburg University Partner for Guaranteed Admission Agreement
Allentown, PA (October 31, 2019) – The Allentown School District (ASD) is excited to announce an expanded partnership with Bloomsburg University (BU) that will guarantee admission to qualifying students of ASD’s Class of 2020 and beyond.
“We are thrilled to announce the expansion of the partnership that began last year at Dieruff High School known as the ‘Husky to Husky’ pipeline,” said Thomas Parker, Superintendent of the Allentown School District. “Bloomsburg University is now poised to give all ASD graduates, be they a husky, a phoenix or a canary, a chance to become a part of the BU family.”
Creating collaborative partnerships and increasing access to higher education, as this agreement with Bloomsburg University does, are key elements to ensuring student success and achieving the goals outlined in the district Strategic Framework.
"Because of the many talented and hard-working high school students in the Allentown School District, we are excited to reward these students with guaranteed admission to Bloomsburg University," said BU President Bashar W. Hanna. "Having grown up in Allentown, the ‘Husky to Husky’ program is especially gratifying to me personally, and it is exciting to expand the agreement to all schools within the ASD. At Bloomsburg University, we remain committed to our mission of providing students an education that prepares them for personal and professional success during and after their years at BU.”
ASD seniors who achieve admission requirements, apply to and are accepted into a Bachelor’s Degree program at BU will also have their application fee waived. Throughout the school year, ASD and BU will work collaboratively to increase direct touchpoints between students and their families with BU’s admissions counselors. Additionally, ASD has committed to hosting a reception and open house events for students and their families with admission, financial aid, scholarship and advising opportunities.
“Allentown School District is home to some of the best and brightest young minds our Commonwealth has to offer,” said Senator Browne. “Bloomsburg University’s removal of significant barriers to quality higher education for some of these students will enable them to explore their passions, realize their potential and achieve success. I applaud Bloomsburg University for its commitment to Allentown School District students and for granting them access to opportunities that they have earned and deserve.”
Bloomsburg University will support ASD students and recognize their academic performance not only through the direct pathway to BU enrollment but also by offering university scholarships to eligible students. Scholarships range from $2,000 to full tuition, easing the fiscal challenges some families may face when paying for college and celebrating the merit of our ASD graduates.
“As a proud parent to two ASD students, I know the incredible amount of talent and promise that our children have,” said State Representative Schweyer. “For so many of them, the only thing standing in their way to greatness is just an opportunity. This partnership between ASD and Bloomsburg will break down barriers – financial and others – that prevent our children from achieving their potential.”
“For many students, pursuing higher education comes with the difficult choice of taking on twenty years of debt. That education may open doors to allow those students to change lives and the world,” said State Representative Schlossberg. “This partnership between the Allentown School District and Bloomsburg University shows incredible commitment by leaders to help students make the decision much easier. This might be the one instance where Canary Nation won’t mind a few extra Huskies in the world.”
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Dover - the key to England
|In England
|By Andre & Elaine
“If all of England is a Castle, Dover is the main gate”
Situated in the southeast of England is a small town called Dover. It’s famous for its dramatic White Cliffs along the beautiful English coastline and is also the closest crossing point to continental Europe. This little town not only plays a vital role in modern Britain by facilitating the daily crossing of thousands of goods and people to and from the continent but also played a crucial role in England’s history. Dover is the key to England and was therefore protected by one of the greatest castles in Britain. Today we had the opportunity to visit Dover to learn about the castle and the deep secrets buried underneath it.
The castle itself was built between 1179 and 1188 as a massive symbol of King Henry II’s (great-grandson of William the Conqueror) power and consists of 14 stone towers, gatehouses and a wall that is over a mile long. The main tower, however, was built almost 2000 years ago when Julius Cesar and the Romans landed in England. The Romans primarily used the tower as a beacon to guide the Roman navy across the English Channel.
In the 12th century, Dover Castle had its first test when Prince Louis from France tried to invade England and take the throne from King John. Prince Louis set foot on the shore and battered the walls with catapults, but the walls held firm. Frustrated with the failed attack, Prince Louis had to change his approach and came up with a plan that would later give Dover Castle a great defensive advantage – instead of going over the wall, the French decided to go under them. The idea was to dig enough tunnels through the white chalk cliffs of Dover to weaken the castle’s structure. If they could get the walls and gates to collapse, the French would be able to access and even destroy the castle. When the English learnt what the French were up to, they came up with a controversial plan to counter the attack – they started digging their own tunnels. Very soon, an English tunnel would break into a French tunnel and troops from both sides would have had to battle it out underground with little or no light. This kind of battle was often referred to as a ‘Blind Bloodbath’. The French managed to bring down only one tower with their tunnelling strategy which gave their troops access to the inner grounds of the castle but the strength of the English resistance inside the castle forced the troops back and the English maintained control of the castle. When Prince Louis decided to withdraw his troops, English engineers had to repair the damage to the castle and decided to extend the tunnels even further for any new attacks but the castle only saw action again about 600 years later.
By 1803, Napoleon pretty much destroyed his enemies across the whole of Europe and was ready to invade England. With a massive army, the French Emperor was ready to attack. Dover Castle was once again at the heart of it all not only because it’s the most logical invasion point to England but Dover also had a port where the French could resupply their army. Meanwhile, the English expected the invasion almost on an hourly basis but had one massive problem to solve – England had its own troops, but had nowhere to put them. The only viable option to keep the troops close to the battle line was to place the troops inside the tunnels underneath the castle where they remained on permanent standby. After the troops were placed inside the tunnels, English Commanders realised they had one more weakness – if Napoleon did manage to land his army on the coast, how would they get the English troops to the beach? The Cliffs of Dover is only 92 metres from the top to the bottom straight down but on horseback, the shortest route was one and a half mile. An English General, William Twiss, came up with the Grand Shaft. The Grand Shaft was designed as an express route from the castle at the top to the beach at the base of the cliffs. It was basically a massive well with 3 flights of stairs and is seen as one of the most brilliant designs of its time as you could move troops 3 times faster than usual. With the completion of the Grand Shaft, Dover Castle was fully ready for the invasion but never faced an attack from Napoleon. The Royal Navy was too strong and controlled too much of the English Channel that the French were forced back time-and-time again to the point where Napoleon had to cancel the invasion in 1805.
The Grand Shaft
A 134 years later, in 1939, Dover Castle once again came under threat of invasion – this time again from France but not from the French. Yes, you’ve guessed it, it was the start of World War II and Dover Castle had to defend England against a German invasion of Adolf Hitler.
In May of 1940, over 400 000 Allied troops were surrounded by German forces on the French coast of Dunkirk. The German army was more than twice their size and slowly moving in for the kill. The British Prime Minister at the time, Mr Winston Churchill, needed a rescue mission and a military Commander as close as possible to Dunkirk. The tunnel network of Dover Castle was more than three and a half miles long and still a secret to the outside world – making it the perfect location for his military Commanders. On the 20th of May 1940, the first planning meeting took place to come up with the evacuation plan for Dunkirk, also known as Operation Dynamo. Deep underneath the castle, Churchill had Commanders for his army, navy and airforce as well as a military intelligence centre. From within these rooms, the command was given for Operation Dynamo to begin and with that command 35 Destroyers and Troop Carriers set out to Dunkirk. Once they arrived in France, the ships would drop anker and use landing craft to rescue the troops. The British Commander responsible for Operation Dynamo knew the task of evacuation was close to impossible and believed that only 45 000 of the 400 000 men would be saved. In the end, thanks to his plan, they managed to save 338 226 men from being killed by the German army.
By the end of 1940, the Germans were closing in on invading England so Churchill ordered to expand the tunnels at Dover Castle even further. The new additions included an annexe, living quarters, bathrooms and showers, a BBC radio studio, a hospital and operating theater fully equipped to handle any emergency. From here, Churchill also created a team to deliberately broadcast disinformation to the outside world, specifically to confuse the Germans. Dover was also the “dummy run” for the D-Day Landings so the coastline was filled with landing craft and other boats that confused the Germans even more. The command centre sent out thousands of fake orders and military communication messages across the enemy lines and looking back, it worked. The work done at Dover Castle was a crucial task in the run-up to the Normandy landings.
During the final stages of the war, Allied Forces called for Japan’s unconditional surrender but Japan simply ignored this call. The United States, with Britain’s consent, dropped two nuclear warheads in Japan, one in Hiroshima (that we plan to visit later this year) and another on Nagasaki. After dropping the second bomb, Britain and the United States wasn’t sure if Japan would retaliate with a nuclear strike and Churchill and his top team used Dover Castle’s underground network as a nuclear bunker. Luckily, the Japanese surrendered only 6 days later.
Dover has always been at the heart of Britain, today it’s the key to flexible trade whereas in the past it was the key to keeping Britain and its people safe. Visiting the castle today, walking through the underground tunnels, seeing the war rooms and nuclear bunkers was indeed an eye-opening experience. The castle’s story is a remarkable one, one that I hope will be told for many more years.
“We shall defend our island,
whatever the cost may be,
we shall fight on the beaches,
we shall fight on the landing grounds,
we shall fight in the fields and in the streets,
we shall fight in the hills.
We shall never surrender.”
Andre & Elaine
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Freedom Comes In Many Different Ways
By Fran Lewis Last updated Dec 23, 2020
Clarence Willis had little or no regard for his life and the family that he would soon leave behind. Worried about his motorcycle buddies, the pranks and stunts they encouraged him and others to attempt, Clarence Willis ended his life in less than a grand fashion.
Legacy’s are important and imagine finding your great great great grandfather and his tragic past while playing around on Google in 2009. Uncovering the history of Sandy Willis and his shocking and astounding past, being sold into slavery and his service during the Civil War, author, reporter and journalist Cheryl Willis takes on a journey back in time to the struggles so many had to endure in order to gain what we have now Their Freedom.
Learning about her father, his recklessness angered Cheryl as she and her four brothers and sisters were now left without a father. A decorated firefighter in the NYC fire department, Clarence Willis never new that the qualities he possessed were inherited from Sandy Willis a slave. Brave, filled with courage risking his life for his family let’s go back in time and meet this amazing man and understand why his story needed to be told.
Let’s meet both Sandy and Clarence and learn about them and present their stories to everyone. Two men: One Goal: Freedom: But so different in their definitions of the word. Clarence sought the freedom to explore and try things on his own and Sandy wanted the chains and bonds that tied him to his master lifted. Hear the voices of these two men as author and journalist Cheryl Willis takes you on double ride back in time to learn about these two men whose impact made and still make a difference in her life.
As the author relates the story of Sandy Wills you can feel the frustration in her heart as she recounts what happened or might have been his life struggling to free himself from the bonds of his slave master and journey into unknown territory while serving our country during the Civil War. Flashing ahead author Cheryl Wills relates the story of her father, his parents and their struggle to live in what should be a free world devoid of chains and bondage yet filled with other types of prejudice and hate.
Blacks were constrained not so much in a physical way but in what the government allowed them to do, how they were treated and where they could socialize, go to church, live and even ride a bus. Lines of demarcation were drawn, lives filled with disappointments and one man named Fred who decided to try and find his way in New York City and whose family suffered at his hand while his wife took the reigns and find her way in the Church and in God. But, that did not end her sadness, her frustration nor Fred’s difficult ways as they lived in New York, her two sons learned many things from their father and life took on a whole new meaning for this family.
Close your eyes- hear the music- can you feel the beat- the strings of their guitars reverberate as the music of Fred and Clarence Wills remains in the mind and hearts of his family. A church filled with mourners, a family divided at times and a 13-year-old girl named Cheryl whose last memory of her father was at his funeral. An account so heart wrenching and profound and vividly described almost as if it is happening over again and you are experiencing it with out author. Take the journey along with this reviewer and celebrate the lives of Clarence, Sandy and Fred Wills and the members of their family as we go back in time to where it all began.
Clarence a firefighter, paratrooper, father, deacon in his Church and often-reckless at times taking risks with his life. This man left many lasting impressions on different people- remember him- 38 years old- one man’s legacy but there is so much more to Die Free as author, journalist and reporter Cheryl Wills shares that very day her father died.
Sandy Wills was her great great great grandfather whose legacy her father would never know and yet their live experiences although during different time periods were not that much different. Sandy was a runaway slave who fought for his freedom and that of others during the Civil War. Hear his story and understand his struggles and the courage of this great man.
One firefighter, Clarence left his family before his time. Cheryl Wills embarks on her journey along with this reviewer back when blacks were slaves on plantations, treated as human property. Owned by Edmund Wills Sandy’s live was devoid of human dignity, the simple comforts of life and lived in filth and squalor. No one should. Along with his brothers this ingenious and smart man devised a plan to escape dreaming of a better life.
Freedom comes in many ways- some during a lifetime, others freed from bondage and some find it in death feeling trapped all of their lives and wanting more than life held. Some men would seek out a path they hoped would give them what they wanted. Slave owners had the power of the bodies of their slaves and controlled their every move. But, no one could erase or control the mind, spirit and determination of Sandy Wills
Flashing between Clarence and Sandy the reader learns how each man dealt with discrimination, hate, defeat and the hardships each endured while struggling and searching for their own freedom. Clarence and his family have to deal with laws that separated whites and blacks on buses, and places they could frequent. Clarence learned early on of the many constraints placed on blacks and rebelled. Reckless, daring and strong willed he sought other solutions for himself rather than remain at home. His father, Fred and mother Opal faced similar struggles as Fred’s behavior was often devoid of feelings and compassions for Clarence and his siblings. At times his father was absent and other times abusive to his mother. Family strife and discord was paramount at times as Fred and Opal had many conflicts taking its toll on their family.
Sandy, however, found freedom by planning his escape enlisting in the army and becoming the first in his family to become an American citizen. His path to freedom can only be appreciate by reading it for yourself and taking the journey along with him and his brothers. Equality means to feel equal having the same advantages as everyone else regardless of race. Both Sandy and Clarence learned hard and fast that this was not to come to pass during their lifetimes.
As one man strived for freedom from slavery another entered the army. As Clarence became a paratrooper moving in a positive direction and then returning and become part of the FDNY, we see a man who could have really shied even more than he did. Clarence finally marries his childhood sweetheart, Ruth but his life mirrored his father’s riddled with alcohol, women and deceit. Leaving his family for long periods of time, Clarence was no different than Fred. But, his true passion was his guitar the music he made playing in front of others and his motorcycle and the wrong friends that he made riding.
Life comes full circle as grandfather Fred opens a storefront Church and turns himself around and who our author was so proud of and respected. Wanting him to be proud of her chosen career as a journalist she hoped he got to see her reports firsthand and was proud to share her success with him.
Read this amazing story of three men- Sandy, Clarence and Fred- and two women whose courage and love for their children withstood it all: Opal and Ruth. Hear the music- listen carefully- Hit Play!
Outstanding novel that reminds the reader that prejudice existed during the Civil War, during the 60’s and even today. One great novel, three great stories- rewind the tape- Hear their voices: Press Play!
Die Free: A Heroic Family History by Cheryl Willis
Book of the WeekFashionHistoryUnited StatesWriting Career
Fran Lewis
Born in the South Bronx, I grew up with people from many ethnic backgrounds. I learned to play and work with children in my school that came from other countries and different places.
I was always over weight as a child and got picked on a lot by the other children in my class and even my teachers. I found it hard to do many of the sporting activities that my sister and cousins could do. I learned at an early age that kids can be mean and I promised myself that I would never retaliate or do mean things to other kids in return.
When I decided to write my short stories I realized that I had a lot to say about my youth and in both of my books I tell about a ten year old girl named Bertha who learns to deal with real life issues kids face today at home and in school.
As an educator I the New York City Public Schools for over 36 years, I realized just how unique and precious our children are. I was the reading and writing staff developer in my school and the dean. I loved the children and had the respect of my fellow teachers and parents. Teaching children to read was really very rewarding and introducing them to writing and creating their own stories was exciting for the students. I love reading different kinds of books in many different genres. I have started reviewing books of new authors and those that are more established. I love giving them great reviews and saying wonderful things about their writing. I have three Masters Degrees and PD in Supervision and Administration. Currently I am a member of Who’s Who is America’s Teachers and Who’s Who of America’s Executives from Cambridge. In addition, she is the author of three children’s books and a fourth that has just been published on Alzheimer's Disease in order to honor her mom and help create more awareness for a Cure. The title of my new Alzheimer’s book is Memories are Precious: Alzheimer’s Journey; Ruth’s story. My second Alzheimer’s Book is called Sharp As A Tack or Scrambled Eggs Which Describes Your Brain. This book should be out in June 2010. I was the musical director for shows in her school and ran the School’s newspaper. I write reviews for authors upon request and for several other sites. You can read some of my reviews on Ezine.com and on ijustfinished.com under the name Gabina.
Other accomplishments:
Radio show talk host: book discussion with Fran Lewis and authors all over the US and the world- how cool is that I get authors that even request a review.
Would love to become an interviewer.
Caregiver and expert on Medicaid and medicare Author of five books and writing number six
The sixth book is based on a true story but will be written as a fictional memoir.
Worked in the same school for 36 years as the reading and writing staff developer I was the dean of discipline and assisted the Principal and AP when needed I was the test coordinator for the school and instructed teachers in testing procedures –administrated the tests and oversaw the reading, math and other tests to make sure that everything ran smoothly.
I am an expert in the ELA or any test prep for reading and writing
I can take an author’s book and even if it is not five stars write a five star review for them by looking for the soul of the book and for something positive. I am a member of Who’s Who of America’s executives, teachers and professionals and belong the Cambridge’s Connect and Pen with Sword
I would like to take my three children’s book plus the fourth one and put them together in one book. I played the piano as a kid and the violin.
I was in the Bronx Borough Orchestra. I played the piano in Carnegie Hall –that was scary. I do consulting for some of the teachers in my school when they need help with lesson plans. I love writing for Robins Falls Magazine.
I love writing reviews in my own style. I even find time to help my nieces and nephews with their homework over the phone.
Email: riffyone@optonline.net
The Darker Side of Parenting
The Bone Box
Eyes of Emerald
Well of Gold
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Ufology and Science
What is the relationship between ufology and science? “You get an ology, you’re a scientist”. So said the character “Beattie” in the famous 1980s British Telecom TV advertisement. That said, the scientific community clearly doesn’t recognise ufology as a legitimate part of science, standing in its own right alongside subjects such as biology or psychology.
Some ufologists are scientists and some scientists are favourably disposed towards ufology, but generally speaking the scientific community regards ufology as a hobby, if indeed it pays the subject any attention at all. Does any of this matter and what, if anything, can be done to change this state of affairs?
At official level, science and ufology have cohabited, though they have been uneasy bedfellows. We should not forget that in America, long before his involvement with the Center for UFO Studies, the astrophysicist Dr J. Allen Hynek was appointed as scientific consultant to the USAF’s UFO projects, Sign, Grudge and Blue Book. The MOD’s UFO project owes its very existence to a scientist.
Papers declassified by the Ministry of Defence in 2001 and released under the Freedom of Information Act show that the Flying Saucer Working Party – the UK’s first official study into the UFO phenomenon – was set up as a direct consequence of the MOD’s Chief Scientific Adviser, Sir Henry Tizard. In response to a wave of UFO sightings in the UK and indeed all around the world, Tizard’s view was that “reports of flying saucers ought not to be dismissed without some investigation”.
Earlier still, in the Second World War and immediately thereafter, another famous scientist – the MOD’s Director of Scientific Intelligence, Professor R V Jones – had probed mysterious reports of so-called “Foo Fighters” and “Ghost Rockets”. The forms which Project Blue Book and the MOD’s equivalent used to record UFO sightings were designed with input from scientists, so as to facilitate the recording of the information required for meaningful investigations to be undertaken.
Science versus Government
The position of scientists within government has always been odd. The civil service, the military and the intelligence agencies all know they need scientists, but somehow they are a breed apart, misunderstood and sometimes feared. Sometimes they can wield enormous power, as in the case of Frederick Lindemann. Lindemann (later Lord Cherwell) was Churchill’s key scientific adviser.
Nicknamed “The Prof”, Churchill invariably deferred to him on most scientific matters and it is interesting to note that it was Lindemann’s agreement with the Air Ministry’s sceptical assessment about UFOs that almost certainly persuaded Churchill to take no further action or interest in the subject, following his famous July 1952 enquiry about UFOs. But people like Lindemann are the exception.
From Peter Wright to Dr David Kelly, government scientists sit within the Establishment, but are somehow not quite a part of it. The relevance of this is that official UFO projects such as Blue Book, the MOD’s UFO project and others have never really made as much use of scientists as might have been the case. Even Hynek was somehow set apart from the rest of the United States Air Force team, as opposed to being an integral part of the project.
The British Position
The British Government’s UFO project had no full-time scientific adviser. Arrangements have varied over the years, but during my tour of duty and at most other times, staff undertaking UFO investigations have been able to call on scientific expertise on an ad hoc basis. This has generally involved specialists in the Defence Intelligence Staff, in particular those working in scientific and technical intelligence.
Clearly this is an area about which I can still say little, despite the MOD having released some documents detailing the liaison. Of course, I would have like to have had a full-time scientific consultant, embedded in the project. An astronomer or an astrophysicist perhaps, or maybe an aeronautical engineer. A psychologist would also have been useful.
But I can think of few managers who wouldn’t want more resources and, as ever, there are numerous competing requirements. So the scientific advice I received was delivered on an “as required” basis. Whether I wanted a radar tape interpreted or a photograph analysed, there was always somebody who I could call on for assistance.
Project Condign
I should make mention of Project Condign, not least because it has its roots in discussions that I had with scientific and technical intelligence staff in 1993, years before the study was actually undertaken. Famously, we convinced people to endorse such a study by dropping the loaded term UFO and replacing it with UAP (Unidentified Aerial Phenomena).
But I’d left the UFO project by the time Project Condign was undertaken and whereas I worked hand-in-glove with the Defence Intelligence Staff, my successors, for a number of reasons, did not enjoy such a close working relationship, and remained at best not involved and at worst entirely unsighted on the work. The final report was a disappointment. Though the single author worked tremendously hard, he had been hampered by the secrecy of the study. Consequently, none of the consultation and peer review that one would expect in a proper scientific study was undertaken.
This was, essentially, one man reading some of the MOD’s old files and scouring the literature for papers on atmospheric phenomena. The irony was that by straying into such areas the author ended up trying to explain one mystery for which there is no scientific consensus (UFOs) with others (exotic atmospheric plasmas, earthlights and the effect on the brain of electromagnetic fields). That’s bad science.
Science versus Ufology
Outside official government projects, the position has always been more difficult. Scientists have often been fierce critics of ufology. From Donald Menzel to Sir Patrick Moore, many scientists have been ufology’s harshest critics. The irony here is that good ufology should be indistinguishable from any other scientific programme.
Good examples of such “scientific ufology” include the Hessdalen Project in Norway, or BUFORA’s Anamnesis Project. Sadly, much ufology is not scientific, either because investigators (sceptics and believers alike) are conclusion-led, or because they lack the appropriate expertise and resources, or both. This is a shame. I have met both scientists and ufologists, and discussed ufology at science festivals and the Science Museum. With their passion for knowledge, the two “sides” have more in common than they might first realise.
Two Studies and Two Results
Let’s not get drawn into absolutes. Science is a broad church and even on a very narrow subject one finds different theories, with different conclusions often being drawn from the same data – not unlike ufology! Often, there is no “scientific consensus”. A good example of this is the debate surrounding the nature of the hypnotic state and the validity of regression hypnosis in recovering memories. What can better illustrate this lack of consensus than comparing the Condon Report with The Sturrock Report?
The Condon Report was the result of a study undertaken by scientists at the University of Colorado and its sceptical conclusions led to the USAF’s Project Blue Book being formally terminated. The Sturrock Report was compiled by astrophysicist Peter A. Sturrock and others and was based on the work of a panel of scientists who reviewed data in some of the most intriguing UFO cases. Billed as the first major scientific inquiry into UFOs since the Condon Report, Sturrock and his colleagues effectively overturned the Condon Report conclusions.
Science and Abductions
None of this is to say that we should blame scientists for not taking an interest in ufology. As I said earlier, some scientists have become involved in ufology and were great friends to the subject. Dr J. Allen Hynek is one example, changing his views and becoming involved in civilian ufology after Project Blue Book was closed down. Dr John E. Mack is another more recent example. Mack was Professor of Psychiatry at the prestigious Harvard Medical School and was challenged by Budd Hopkins to look at the alien abduction phenomenon. He took up the challenge and became a great champion of the subject.
Although often criticised by ufologists and labelled as debunkers, scientists such as Susan Blackmore, Chris French, Susan Clancy and Richard McNally have at least got involved. Ufology cannot have it both ways and yet many ufologists deride scientists for not paying the subject attention, then criticise those that do, because they disagree with their conclusions.
Despite their obvious scepticism that any of the abductees have been taken on board an extraterrestrial spacecraft, ufologists might find some common ground with the likes of Clancy and McNally if they looked hard enough. As a result of experiments, both Clancy and McNally have said there is no evidence of any psychopathology in the abductees – they’re not mad. Furthermore, because the abductees exhibit physical symptoms (e.g. increased perspiration and heart rate) when recalling their experiences, when a control group asked to retell a fictitious but traumatic account display none, Clancy and McNally think it unlikely the abductees are lying. Ufologists and the abductees themselves should welcome this and make more of it.
Ufology versus SETI
Nothing typifies the current state of affairs better than the relationship between ufology and SETI. Here are two groups of people who should regard themselves in an overlapping field. SETI practitioners use radio telescopes to listen for transmissions from other civilisations, while many ufologists believe extraterrestrials have already visited Earth.
Generally speaking, each regards the other’s activities as silly and pointless. SETI practitioners close their minds to the faster-than-light travel (or other exotic travel such as use of wormholes) that is required for viable interstellar travel. Ufologists question whether extraterrestrial civilisations would generate detectable radio signals at all (Writer and philosopher Terence McKenna once said “To search expectantly for a radio signal from an extraterrestrial source is probably as culture bound a presumption as to search the galaxy for a good Italian restaurant”).
Logically, SETI supporters and ufologists should be saying “Look, I don’t know much about your discipline, but it seems to me that we’re both interested in the same thing, though we’re coming at it from opposite ends of the spectrum and trying two very different approaches. I guess we’re covering all the bases”. But they don’t. They bicker and fight and disparage each other, making both sides look foolish and wasting valuable time that could better be spent on research and investigation.
Some of the biggest names in both fields are guilty here, though I’m pleased to say that when I met Frank Drake (generally regarded as “the father of SETI”) he seemed genuinely interested and open-minded about ufology. My own view is that SETI might beat ufology to the finishing line. Proof is difficult in ufology and short of the archetypal landing on the White House Lawn, it will be difficult to convince society as a whole that extraterrestrials exist. But a signal from space? It couldn’t be faked and it couldn’t be denied. Of course, picking up a signal doesn’t mean any extraterrestrials have ever actually visited the Earth, but it would prove the existence of other civilisations – a good start for any pro-ETH ufologist.
Investigations undertaken by government UFO projects have generally been carried out in a scientific manner, though even they have struggled to obtain the full-time scientific support that would have been more desirable. Ufologists and scientists are generally wary of each other, though some bridges have been built. More can and should be done. Good ufology (official or private) should be science-based, but it often isn’t. Ufology is a quest for knowledge and if done properly should involve the application of a rigorous investigative methodology. It seems to me that this definition isn’t that far from the definition of science itself.
Author: Nick Pope, nickpope.net
Space Secrets
Aliens Monsters? Mysterious Hopkinsville Goblins Case
Pilot Cosmonaut Pavel Popovich and Soviet UFO Phenomenon
Former French Intelligence Officer: UFOs and Aliens are Real
“Where Is Everybody?” Fermi’s Paradox And Resolutions
Two Men 5,000 Miles Apart, Use Nothing But Their Minds to Send Messages
Foo Fighter: Mysterious UFOs Seen in World War II
Time Travel – It Is Possible?
Alien Abduction or Cover-Up: The Vanishing Of Gerry Irwin
Astronaut Quotes about UFO’s and Extraterrestrial Life
The Search for Lost Papers of Nikola Tesla
NASA Astronauts Say Aliens Are Watching Earth
200 Highly Developed Extraterrestrial Civilizations Hiding In Our Galaxy
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Makers / Emma Hart
Emma Hart began making radio in 2014 on 3CR Community Radio’s Tuesday Breakfast Current Affairs Show, a show produced and presented solely by women and gender non-conforming people.
While balancing radio with a job upholding workers’ rights and her commitments as an active musician, Emma fell in love with community radio as a vibrant and resilient media form where communities control their own stories.
They are the former Interviews Coordinator at PBS106.7FM, and serve as a Director on 3CR’s Committee of Management. They delivers radio training at 3CR and are a producer for Women on the Line, a national feminist current affairs show which has been broadcasting from 3CR since 1986.
Emma is also a producer for Sweet Dreams, a weekly DIY music show on 3CR which focuses on the music of women, gender non-conforming and queer people, and looks forward to bringing their experience pushing for fair representation in a community radio context to their new role.
Women on the Line
Women on the Line is a national current-affairs program with an intersectional feminist lens, broadcast out of 3CR in Melbourne. …
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Tips >>
Writing Your First Novel: 20+ Mistakes To Avoid Like the Plague!
Ok, you've decided you've read enough about writing your first novel and you're finally going to undertake this monumental task: you'll finally cross "Writing your first Novel" off your bucket list.
You've got your workspace setup, Scrivener installed on your laptop, your keyboard is ready to go, you've beaten writer's block (for the day).
But this time, it's different.
You have learnt how to outline a fiction book, you know the process by now. But... putting theory to practice? The story you've kept in the back of your mind for so long... how on earth can you even begin to put it on paper (or screen)?
It's not easy. In fact, it's hard as hell.
But a lot of us have been there before. Some have given up half-way through; others have gone on to become best-selling authors with a whole library of titles to their name.
But you see, these authors have made mistakes. Tons of them. You see them topping the charts now, but once upon a time, they were just like you. Good thing is, they remember exactly what it felt like.
What it was like to being completely lost, not knowing what to do... and having to learn from their mistakes the hard way.
Wouldn't it be nice if they could give us some info, some pointers you can use, so that you avoid the biggest pitfalls, and get a head-start over everyone else?
Luckily for you, I reached out to some of the best indie novelists out there, asking one simple question:
What are the 3 mistakes new authors should avoid when writing their first novel?
Fortunately for you (and me), their responses were incredible. Some literally made me re-think some of my strategies.
But enough of that. Let's hear it directly from them!
J.F. Penn (Joanna Penn) - www.JFPenn.com
J.F.Penn is the Award-nominated, New York Times and USA Today bestselling author of the ARKANE thrillers and London Crime Thriller series as well as other dark fantasy stories. You can find all of her books here.
Not reading books in the genre and understanding what readers expect e.g. if it's a romance, there better be a happy ending!
Not reading dialogue aloud to get rid of the clunky bits that no one would ever say
Editing while writing. The first draft of your first novel will inevitably have some problems, but that's ok. Tell the story and then go back and fix it up later.
The first draft of your first novel will inevitably have some problems, but that's ok. Tell the story and then go back and fix it up later! Joanna Penn
J. THORN - https://theauthorcopilot.com
J. Thorn is a Top 100 Most Popular Author in Horror, Science Fiction, Action & Adventure and Fantasy (Amazon Author Rank). He has published over one million words and has sold more than 170,000 books worldwide. His latest post-apocalyptic science fiction novel co-written with Zach Bohannon has racked up more than 1 million page reads in under 100 days. Thorn became a certified Story Grid Editor in September of 2017 and offers his editing and coaching services to authors. You can find all of his books here.
The book has no single, identifiable genre. If you think your story is a “paranormal romance set in 18th century Bolivia with a redemption plot infused with sci-fi time travel,” you’re making a big mistake. While that story might be fascinating to you, your mom, and a handful of quirky readers, it will usually be ignored by most customers. Don’t believe me? Go to your local bookstore and look for the Paranormal Romance Sci-Fi Time Travel section. Can’t find it? I’m not surprised. Pick one commercial genre if you want to sell books.
The title and/or cover does not clearly convey genre. Title and cover are meant to do one thing—convey genre. That’s it. Your cover might be “pretty” or “artistic” or “colourful” but none of that matters. Go on Amazon and find your book’s genre (Haven’t done that yet? Go back to 1). Look at the covers of the books ranked in the top 20. Your cover needs to look like that. Not exactly like that, otherwise, you’re stealing intellectual property. It should look like it belongs there, sitting next to the best sellers on the virtual shelf.
A lengthy plot summary is being used instead of a hooky product description. Keep your book description to a few sentences or a paragraph at most. It is supposed to entice a potential reader, not be a plot summary. Think of your book description as a text-based movie trailer. There are many resources and services out there on how to optimise book descriptions, and it’s not an entirely scientific or formulaic process. However, your goal should be to hook the reader in 7 seconds or less because that’s about how long they’ll take to decide on whether or not to purchase your book.
Try to hook the reader in 7 seconds or less because that’s about how long they’ll take to decide on whether or not to purchase your book! - J. Thorn
RANDY INGERMANSON - ingermanson.com
Randy Ingermanson is the author of six award-winning novels and two best-selling books on how to write fiction. He has a PhD in physics and works as director of software engineering at a biotech company in San Diego. He likes using math to make the world a better place, which is how he developed his wildly popular Snowflake Method of designing a novel before you write it. Randy lives with his family in southern Washington State, and spends all his waking hours attending to the needs of two surly cats. You can find his books here.
Failing to learn the basic craft. There are any number of good books that will teach you how to write a novel. None of them are perfect, but all of them are better than trying to figure things out on your own. Early in my writing career, I joined a critique group. There was a promising writer in the group, but he had certain flaws in his writing that made his story much less entertaining. I referred him to Dwight Swain’s amazing book Techniques of the Selling Writer, which had exactly the cure he needed. But he wasn’t interested in the cure. I’m sorry to say he never got that novel published, which is a shame, because he had some talent.
Rewriting the same chapter over and over. This is tempting, because when you’re new to the game and you get a helpful critique, you want to fix all the mistakes you made. You want to get that opening chapter perfect. The problem is that it will never ever be perfect, and if you get yourself in a rut of never moving on to chapter 2, 3, 4, until chapter 1 is finished, you are going to end up two years later with just that one chapter, and it’ll be like the stick of gum that you’ve chewed all the sugar out of. And that’s all you’ll have—just one chapter. Write your novel. Get it written. Then get it right. Some famous writer said that once, and it’s always been true and it always will be true.
Comparing yourself to other writers, especially famous ones. There are two ways to fall off this horse. You can fall off on the right side by sneering at all those famous writers who “write terrible stuff and get published anyway because they’re big names.” The fact is that those “terrible” writers are delighting some target audience somewhere. They may not be delighting the literati, but they’re delighting millions of real people with real money who buy real books. Real writers figure out the target audience they want to delight, and then they buckle down and delight that audience. But you can also fall off the horse on the left side by reading some amazing writer and thinking, “this writer is so brilliant, I can never possibly write anything to compare to his, so I might as well give up right now.” Well, no. Every amazing writer started out their career writing perfectly dreadful vile stinking crap. Every single one. Ask them. They’ll all tell you they did. If you want to be amazing someday, be willing to start out awful and then improve on it. Every day, improve on it. You may never be amazing, but you will only reach your potential by starting out writing crap and then constantly improving on it. Don’t reject yourself—that’s the job of the wicked editors who rule your fate, and if you do their job for them, they’ll feel sad and lonely.
Every amazing writer started out their career writing perfectly dreadful vile stinking crap. Every single one. Ask them! - Randy Ingermanson
ADAM CROFT - ADAMCROFT.NET
With more than a million books sold to date, Adam Croft is one of the most successful independently published authors in the world. Following his 2015 worldwide bestseller Her Last Tomorrow, during the summer of 2016, two of Adam’s books hit the USA Today bestseller list only weeks apart; in February 2017, Only The Truth became a worldwide bestseller, reaching storewide number 1 at both Amazon US and Amazon UK. You can find his books here.
Thinking too much. Write for yourself, not for the reader. Always write the books you want to read. That sincerity and authenticity will shine through.
Writing stilted dialogue. Dialogue is the most important part of any book. Make sure it sounds like people speaking. So many books are filled with dialogue that sounds stilted and contains sentences and syntax that no person would ever say outside of a formal speech or address.
Not making time to write. Too many of us put it off and treat it as a hobby that should come last. If you're serious about writing, put it first. Make the time. Your efforts will be repaid.
If you're serious about writing, put it first. Make the time. Your efforts will be repaid. - Adam Croft
K. M. Weiland - helpingwritersbecomeauthors.com
K.M. Weiland lives in make-believe worlds, talks to imaginary friends, and survives primarily on chocolate truffles and espresso. She is the award-winning and internationally-published author of Outlining Your Novel, Structuring Your Novel, and Creating Character Arcs. She writes historical and speculative fiction from her home in western Nebraska and mentors authors on her award-winning website Helping Writers Become Authors. You can find all of her books here.
Not writing for the love of it, first and foremost. As Anne Lamott says, “Being published isn’t all it’s cracked up to be. But writing is.” Write the stories of your heart, not the stories you think the market wants. Write the story you’d want to read if you were one of your own readers.
Not writing unless you have to. Writing isn’t worth it unless it’s an undeniable passion. But if you’re blessed enough to suffer that passion, embrace it wholeheartedly. Read like crazy; write like crazy. Don’t be afraid to take risks; don’t be afraid to break the rules—once you know them. And, especially in the uncertain days of publishing in which we live, don’t allow your worth as a writer to be defined by whether or not you’ve been published. If your words never touch more than a single life, you can still count yourself a successful writer.
Scrimping on the small stuff. Understanding the details of your craft—and the publishing industry—is what sets the pros apart from the amateurs. If you’re really serious about selling stories, perfectionism needs to be a constant goal. In a cutthroat market such as we have today, nailing the small details will make all the difference.
If your words never touch more than a single life, you can still count yourself a successful writer. - K. M. Weiland
kevin tumlinson - kevintumlinson.com
Kevin Tumlinson is a bestselling and award-winning thriller author, Host of the popular Wordslinger Podcast, and Director of Marketing for the global indie publishing resource, Draft2Digital. He is known as "The Voice of Indie Publishing," and every week helps thousands of will-be and established authors build and grow their publishing empires. You can learn more about Kevin and his work at https://kevintumlinson.com, find his books here and tune in to his weekly interview-format podcast at http://wordslingerpodcast.com.
The wrong focus. New and will-be authors tend to focus too much on the mechanics and tools ("What software should I use?" "How many words should this book come out to?" "How do I convert my manuscript to an ebook, when I'm finished?"). There are so many tools and services and resources out there, that tends to become confusing and overwhelming.
Instead of focusing on that, I ask writers to focus on one task at a time, and of those, I ask that they focus on the most important tasks first. For a writer, the most important task is writing. Focus on the writing, on perfecting your craft, on getting into a daily discipline so that you are writing consistently.
Your job, as a writer, is to write. Tell the story you're trying to tell, and the rest will take care of itself. You'll be able to deal with all of those other questions, one at a time, rather than having them all settled up front before ever putting words on the page.
Like I said ... a writer's job is to write. That means that all other jobs take a back seat while the writing is being done.
Specifically, this means turning off your "inner editor" while you write. There's a tendency for writers to try to make everything perfect, right from word one, and that has a very detrimental effect on the work (and the writer). First, editing as you go doesn't just double the chances that you'll never finish the book, it multiplies them exponentially. If you keep your focus on perfection, you'll lose the thread of the work. I promise, this is true.
The aphorism goes: "Perfect is the enemy of done."
That said, there is a place for polishing and perfecting your work, and it's in the editing stage. You have to think of "perfection" as a process, to be performed upon some object. You can't perfect something that doesn't exist. So you have to actually create the book before you can perfect it. You have to have something to edit, in other words, before you can start editing.
Concentrate on getting the story on the page, and relax, knowing that you'll come back and polish it into the book when you're done.
Letting everyone else have a say in your work. There's a myth that writing is solitary work. It is, in some ways. But the reality of writing is that getting it right requires input from others. You need help, and that's just the fact of it all. You need editors, cover designers, review writers, and the people who make publishing possible.
But what you never need is for someone else to dictate what your story should be.
Getting feedback from editors and readers is a good thing. It can help shape your story in ways you never considered. Seeking feedback from qualified people is wise. But where we go off the rails is when we start taking everyone's opinions as law. We start modifying our story and our style to try to please everyone, and trust me ... "everyone" sets an impossible standard. "Everyone" is impossible to please.
Another aphorism: "I can't give you a formula for success, but I can give you a formula for failure—try to please everybody."
When it all comes down to it, your work has to be yours. It can't be a product of the masses. You can't crowdsource your story, and expect it to still represent you to the world. Even if you get a successful book out of that process, it's going to be a one-off. Like a stew made from random table scraps, you might have something tasty one night, but never be able to capture that exact flavour again.
Take all feedback and all criticism and all advice, and filter it through your own principles and sensibilities. Weigh all of it, bit by bit, and ask, "Is this me? Does this fit the story I mean to tell? Does this represent me and my work?" If the answer is even a hazy "maybe," toss it. Only go with yes.
In the end, there's really no "secret" to being a successful author. It comes down to some basic facts:
Writers write. Authors have written. And success can only be defined by you.
Stick with those, develop a daily writing discipline, and dedicate yourself to improving your craft, your connections, your resources, and your business sense. You'll achieve more than you ever dreamed, if you do that. I promise, it is so.
Writers write. Authors have written. And success can only be defined by you. - Kevin Tumlinson
Johnny B. Truant - sterlingandstone.net
Johnny B. Truant is a bestselling author, professional storyteller, and co-owner of the Sterling and Stone Story Studio. You can find all of his books here.
Putting EVERYTHING in it. I once heard someone say that you can psychoanalyze an author by reading her first book, because all their baggage is in there. Authors usually approach that first book with a lot of internal issues they want to discuss and a lot of little anecdotes to include because they've been saving them up over their entire lives. Resist the urge to include every bit of what's in your head. You will write later books, so you don't need to clean out your entire closet with the first one.
Overexplaining. Basically, trust your readers. If you tell a good story, they'll figure out what's going on. You don't need to introduce a character and tell us his entire life story right away. If he's shifty and makes questionable decisions, they'll figure out he's a crook. You don't need to tell his prison history or anything. If two people are in a room, you usually don't need to describe every inch of it or detail the long string of events that got them into the room unless it's truly relevant. Embrace mystery and believe your readers are smart. A ton of what first-time authors feel is essential to explain in exposition actually isn't essential at all. Including it bloats the book and makes readers lose interest and urgency about your story.
Needing it to sell well. Your book might take off right away, but chances are excellent that it won't. Sole books from unknown authors are a very hard sell and tend to be nearly invisible in the avalanche of other books out there. Look at your first book as a means by which you can reach the point of writing the second -- as much a learning experience as anything. Build a catalog to sell. Don't feel a burning need to have this first book sell when it's out there alone, as your very first effort.
Look at your first book as a means by which you can reach the point of writing the second: as much a learning experience as anything. - Johnny B. Truant
Posted by Brian Berni
in Tips
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Brian Berni
Author, Blogger, Creator of Authorstech and Co-Founder of BookAds.co. Yes, I manage over 1000 Ad Campaigns every day!
Morley Eugena - January 30, 2019
I am a reader and I love to read books mostly travel oriented.
Nina Throndsen - April 21, 2019
David Avoura King - May 2, 2019
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