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Error code:   DatasetGenerationError
Exception:    ArrowInvalid
Message:      JSON parse error: Missing a closing quotation mark in string. in row 96
Traceback:    Traceback (most recent call last):
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 153, in _generate_tables
                  df = pd.read_json(f, dtype_backend="pyarrow")
                File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 815, in read_json
                  return json_reader.read()
                File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1025, in read
                  obj = self._get_object_parser(self.data)
                File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1051, in _get_object_parser
                  obj = FrameParser(json, **kwargs).parse()
                File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1187, in parse
                  self._parse()
                File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1403, in _parse
                  ujson_loads(json, precise_float=self.precise_float), dtype=None
              ValueError: Trailing data
              
              During handling of the above exception, another exception occurred:
              
              Traceback (most recent call last):
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1997, in _prepare_split_single
                  for _, table in generator:
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 156, in _generate_tables
                  raise e
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 130, in _generate_tables
                  pa_table = paj.read_json(
                File "pyarrow/_json.pyx", line 308, in pyarrow._json.read_json
                File "pyarrow/error.pxi", line 154, in pyarrow.lib.pyarrow_internal_check_status
                File "pyarrow/error.pxi", line 91, in pyarrow.lib.check_status
              pyarrow.lib.ArrowInvalid: JSON parse error: Missing a closing quotation mark in string. in row 96
              
              The above exception was the direct cause of the following exception:
              
              Traceback (most recent call last):
                File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1529, in compute_config_parquet_and_info_response
                  parquet_operations = convert_to_parquet(builder)
                File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1154, in convert_to_parquet
                  builder.download_and_prepare(
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1029, in download_and_prepare
                  self._download_and_prepare(
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1124, in _download_and_prepare
                  self._prepare_split(split_generator, **prepare_split_kwargs)
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1884, in _prepare_split
                  for job_id, done, content in self._prepare_split_single(
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 2040, in _prepare_split_single
                  raise DatasetGenerationError("An error occurred while generating the dataset") from e
              datasets.exceptions.DatasetGenerationError: An error occurred while generating the dataset

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pred_label string	pred_label_prob float64	wiki_prob float64	text string	source string
__label__wiki	0.520825	0.520825	Hope@Perthera.com What is Perthera? What will Perthera do for me? Precision Medicine Explained Perthera Analysis Outcomes Capture & Utilization Partner with Perthera Advanced Oncology Outcomes Perthera AI Molecular Tumor Board Ranked Therapies Clinical Partnerships CROs Patient Spotlight: Karen Kiernan In 2016, Karen had just retired from decades of health care service, having served as a registered nurse for 32 years and as a school nurse for 23 years. She should’ve been excited about her well-deserved retirement, but unfortunately, not long after she announced her retirement, she was faced with a number of health problems. She displayed symptoms her gastroenterologist had originally thought to be caused by gastroesophageal reflux disease, or GERD. “I was sitting on an examining table waiting for the results of a CT scan of my abdomen. That’s when the Physician’s Assistant appeared and said the words “head of the pancreas” and “mass.” I remember thinking to myself …Can the PA be correct? I have a pancreatic mass? Do I have cancer?” said Karen. “This diagnosis came as a complete shock to me. I always took care of myself and there was no history of cancer in my family.” In March 2017, just 9 months after her retirement, Karen was given the diagnosis of stage IV pancreatic cancer. The first oncologist she worked with prescribed standard of care chemotherapy treatments, but that (now) former oncologist told her that pancreatic cancer was a death sentence and that there wasn’t any hope. “At that moment, I knew I needed to start doing my own research to learn more about my cancer and other options. I was 61 years old and was determined to fight “The Beast” as I wanted to experience much more of life with my husband, my family (including my seven grandchildren) and my friends.” Thankfully, Karen’s determination led her to discover the Know Your Tumor® (KYT) program, sponsored by Perthera and the Pancreatic Cancer Action Network (PanCAN). “They told me that molecular profiling could identify genetic mutations and protein changes for my specific cancer and that the Perthera Report could provide me with the highest-ranked, targeted therapies to fight “The Beast.” I thought, why should I settle for the standard Stage IV pancreatic treatment when I could have a personalized individual treatment option?” Karen enrolled in the KYT program as soon as she could, and sure enough, her Perthera Report provided her with a number of matched, targeted therapy options to evaluate with her treating oncologist. Her oncologist, using the recommendations in the Report, selected the molecularly-matched treatment option Keytruda, and within a year of treatment Karen was finally able to start enjoying her retirement. “Since I opened my mind and heart, 100% entrusting PanCAN and Perthera, my pancreatic tumor has shrunk in size and my CT scans remain stable. Had I not done my own research and discovered PanCAN’s Know Your Tumor® service and Perthera, along with the support of my family and friends, I don’t believe I would be here today.” Today Karen continues her treatment, but she is able to live an active lifestyle. She has also accepted a 3-year position on PanCAN’s Survivor Council as a way to give back to the community that helped her discover a new lease on life. © 2021 Perthera, Inc. INFORMATIVE EMAILS	cc/2022-05/en_middle_0088.json.gz/line2
__label__cc	0.605529	0.394471	Act I logistics ACT I logistics, information technology, and security experts supported the facility build-out for the F-18 Classic and Super Hornet and RAN MH-60R facility as well as the brand new EA-18G Growler facility to meet Australian classified and accreditation standards. Our logistics expertise and experience encompasses planning, operations, financial management, and acquisition to provide clients with: Developing logistics strategies, operational concepts (CONOPS), requirements, and Logistics and Sustainment (L&S) implementation for various operational scenarios, including Performance Based Logistics (PBL) using Performance Based Agreements (PBAs). Sustainment cost estimates, budgets, and operational financial projections; including life cycle return on investment (ROI) and “Should Cost” analysis for commercial firms serving the U.S. government. Technical and operational assistance. Comprehensive warehouse operations for Space Systems. some of the customers we serve United States Space Command Ground Multiband Terminals Contractor Logistics Support ACT I provided United States Space Command with Contractor Logistics Support for its AN/TSC-168 Quad-Band SATCOM Terminals, an important tactical and national C4ISR asset. We provide personnel with SATCOM technical expertise including cyber security, acquisition management, and logistics support. We deliver technical and operational assistance for operational users as well as comprehensive warehouse operations support to help ensure the Air Force Major Commands can meet their mission-critical objectives. Logistics and Management Support Services Naval Supply Systems Command Weapons Systems Support (NAVSUP WSS) to the Royal Australian Air Force (RAAF) ACT I provides logistics analysis support to the RAAF in support of their FMS programs. On behalf of the Australian Defense Force, we provide CONUS based agencies with support across logistics, management, analytics, and Foreign Military Sales (FMS) case financial services.	cc/2022-05/en_middle_0088.json.gz/line4
__label__wiki	0.840724	0.840724	Introducing: Insect Ark INSECT ARK, the long-running exploratory endeavor led by Dana Schechter (SWANS), will unveil its Future Fossils EP via Belgium’s Consouling Sounds. PRE-ORDER HERE Future Fossils EP, an alluring collection of solo archived outtakes, excerpts, and live improv tracks born between 2016 and 2018, the entrancing release will see official release on September 24th with preorders available today. When Dana Schechter started INSECT ARK as her “true” solo project in 2012, she set out to build desolate and hallucinogenic galaxies of sound entirely on her own. Writing and playing solo offered an escape into the deepest realms of self-reflection, dredging and birthing a hitherto sonic beast that was, it turns out, utterly unhinged and totally liberating. Focusing on experimental, drone, noise, and avant-garde noise, INSECT ARK’s first years produced records that were raw, ominous, and totally unique. While defying comparison, these new sounds possessed Schechter’s distinct musical spirit, woven throughout her twenty-plus years of band/collaboration work. After three releases (2012’s Collapsar 7”, 2013’s Long Arms 10”, 2015’s Portal/Well LP), INSECT ARK added live drums to the mix, and the resulting albums — 2018’s Marrow Hymns (with drummer Ashley Spungin) and 2020’s The Vanishing (with drummer Andy Patterson) showed that her singular vision could also expand into heavier and more crushing territory within a collaborative space. The power that live drums brought to INSECT ARK helped gather a new fan base in the heavy-music world, adding another layer to the band’s palette. InsectArk_solo_2021_300dpi kopie.jpg Now, after nine years of existence, INSECT ARK has come full circle to once again embrace solo work on 2021’s Future Fossils. Future Fossils is the first step in a continuing revisitation of Schechter’s solo work. “I felt now was a good time to do solo work again,” she offers. “I love to collaborate,and always will, but I also relish the sense of discovery, of reaching uncharted territory, and the freedom to adapt and shift at a moment’s notice. Those can only happen when performing alone.” With two more new albums on the immediate horizon – another all-solo-synth material, as a full-length LP, and a full new “duo/band” LP – Schechter’s musical output as INSECT ARK has once again proven to defy genres, resist trends, and thwart expectations, leaving us all guessing to where she will traverse next. Future Fossils will be released on CD, LP, and digitally with teaser tracks to be unveiled in the days to come. Find LP preorders HERE and CD preorders HERE. (Digital preorders will be available in the coming weeks).	cc/2022-05/en_middle_0088.json.gz/line9
__label__wiki	0.565207	0.565207	Interview with Kill of THREE SIXES by Dave Wolff Interview with Kill of THREE SIXES Tell the readers how you got involved with Three Sixes. Were you previously acquainted with Damien LaVey or did you hear he was seeking new members and audition? I had moved from Las Vegas to California in late 2000. I wanted to find the right fit for a group that had a solid background and was not exactly a start-up group. I put an ad out looking for a group and had different bands reply. Damien invited me in to audition after meeting and getting a disc for me to practice. I think I was working as a manager at Mars Music in Santa Ana at the time. He was a super cool dude and very upbeat. So I headed down with my stack, Les Paul in hand, to Francisco Studios in lovely Vernon, California, to audition for Three Sixes. Damien will tell the story WAY better then I will, but I roll in, and he asks me which song I learned. I reply "the first one, of course". I didn't have time to learn all the songs on the disc, but I figured I would nail this one. The audition went well, and soon after I was asked to join the band. It was a good chemistry. I felt they were a little too basic as far as the riffs went, but I knew I could contribute with what I brought to the table. I think I was really eager to get back on stage, as I knew Damien was too, and I booked us a show at the XTreme Motocross Festival in Irvine, California. It was us, a bunch of other bands I can't remember, and the dudes from Metal Mulisha. So from then on, the core of the Three Sixes songwriting team was established. The friendship, loyalty and honesty shows between Damien and myself with what we created (along with producer Marko Olson) on Know God, No Peace. Never been prouder of myself or the evolution of Three Sixes. How did you know that chemistry existed during your rehearsal? How did your playing enhance the band when you tried out for them?\ I wasn't the most talented guitarist they tried out, but I damn sure was the baddest motherfucker they had auditioned to that point. No doubt. It was a good vibe in there, and they seemed very chill. What had you been doing in Las Vegas before your move? Had you been searching for bands to join there? I had been playing solo acoustic gigs, studying International Business at UNLV (where Coach John Robinson seemed to want me to play linebacker even though I was in my mid 20s). How long has music been important in your life, and when did you decide to seriously pursue it as a career? I had a promising baseball future ahead of me when I was growing up outside of Atlanta. What changed everything was seeing Pantera play at the Fox Theater when I was sixteen. Wow... Dimebag just made it seem like the best thing in the world to be on stage, and since I would like to think I'm an entertainer at heart... it made complete sense. I remember turning to my friend and saying "I wanna do THAT!” Baseball took a seat on the bench and although I already had this bad ass Harmony Explorer, I needed to play more. After a short stint in rehab, I hooked up with my buddy Ryan Wexler, and August Dawn was born. I grew up around Rich Ward and Bonz from Stuck Mojo, and I felt honored that Rich shared with me the news that they had signed with Century Media before going public with it. I still look up to him as a guitarist, although we don't talk much anymore. Ahh the good ol' Waffle House across the street from me. How do you account for Dimebag and Pantera having that much of an impact on your career choice? It just really hit me in the soft spot of my heart, witnessing how much passion and intensity one could have playing in a band. He really was able to connect with the crowd just using his six string. I've seen videos of Stevie Ray Vaughn doing just that too. I had the opportunity to meet Dime outside of a show setting... did a shot of Jager with him and was able to have a moment I'll never forget. What was it like to meet in person someone you admired as much as Dimebag? As much as I admired him just as a balls out guitarist - the dude was gold personally. He was cordial, welcoming to everyone. Called everyone bro or sister, no matter what race, creed or culture they were. Fucking LOVED that. Good soul. I don't believe the bullshit from Anselmo's mouth, this guy was a good fucking dude. How long were you with August Dawn? Did you perform often and record a few albums with them? That was my first band. Our first show was at the Wreck Room down by Georgia Tech with a band called Crawlspace, which ended up evolving into Sevendust. Good times. We we're awful, I am pretty sure. How “green” were you as a musician with August Dawn? What sort of a learning experience was that band? I learned how to play guitar by just reading tabs and listening to CDs over and over. I figured my ear was decent, and for some reason I keep pretty good time for a guitarist. I had a really old wooden metronome you see sitting on top of pianos and such. I was "green", yes, but I didn't give a fuck. I learned to play in drop-D tuning, so I'll play chords with one finger anyway. We were all young, and just piecing songs together. I had a blast though, and I have those three dudes still on my Facebook account, I keep in touch. Ryan and I talk regularly. Whose CDs and tablatures did you refer to while learning guitar? Were there bands you listened to often? I think the obligatory stuff: Led Zeppelin, Pantera, Metallica, Megadeth, John Sykes. I was into everything when I was younger. Metal, rap, pop, whatever sounded good. Never been much for country, but I do appreciate some of the better guitar players. Did your education as a guitarist include learning to play solos as well as chord progressions? All rhythm, all the time. Solos I learned just because I had to, or I made my own transposition of the original in a song. Jimi Hendrix said it best: "The world is full of lead guitar players, but the rhythm is the thing". I think he said it. Well, fuck it. I don't care if he did. It sounds like a great quote. How did your solo playing grow from your learning rhythm guitar? Has Jimi Hendrix been influential on you? I wouldn't say Hendrix was "influential" to me. He was very much out there, and groundbreaking at that. I enjoy his stuff, but not to the point of obsession. Nah, my solo playing still sucks haha! Does being self-educated as a guitarist give you more room to invent your own style? I think so, but I believe it limits me, at least on the basis of talent. I think I am a hell of a songwriter, but I am not a very good player. This convo tends to go in circles, but I just always feel lacking in the talent of playing the guitar. What were you doing in Las Vegas before moving to California? What led to you working at Mars Music in Santa Ana? I was a student at UNLV, and working as an assistant Dept. Manager at Mars Music in Las Vegas. Anyone who was in the industry in Vegas were at Guitar Center, Mars, Cowtown or various indie stores. We had a tight knit scene there. I was one of the guitarists in Conflict Of Interest, but we had disbanded and grown apart. Aside from doing acoustic gigs, I also contributed to an album by Zero Fingers, featuring Jazz Bender and Sean Whitcomb. Great guys, great vibe. How many indie stores were around at the time and how tightly knit was the scene among the outlets you mentioned? Criminal Records down at Little 5 Points in Atlanta was the place to be. Criminal Records was a retail record store, CDs, cassettes, and plenty of room for band flyers, posters and whatnot. Criminal was a good place to post band flyers and "musician wanted" ads, etc. It was located where the trains and Marta buses came together. HUB to get anywhere downtown. Tell the readers some more about Conflict Of Interest and the Zero Fingers album you contributed to. How active was COI and what did you contribute to the full length? Not too much to reveal on this one, COI never recorded a full length. I think we just played more shows then any frigging band in Vegas. We were definitely battle tested as far as showmanship. Our old drummer is in jail for murder now, too. With Zero Fingers, I don't even know if the album saw the light of day but man was it fun to play on it. Are you still in touch with Jazz Bender and Sean Whitcomb of Zero Fingers? Are they involved in any new projects? Don't speak much to Jazz; just got back in touch with him via Facebook recently. He's always been a great showman, and an exceptional songwriter. Sean is performing in a stage show of sorts in Deadwood, South Dakota. He plays music and entertains the masses that come to visit the old ghost town. Truly one of the best human beings I've ever met, and a hell of a musician. What appealed to you about Three Sixes’ music and made you want to work with them professionally? How do your personal tastes in music fit with the band? First off, I didn't really dig the Satan stuff, I found it humorous. But what made a HUGE difference was the loyalty to heavy music that Damien had. His drive, passion, organization and persistence go unrivaled in this industry. Any Three Sixes fan will know and agree with that. I really loved the fact that there were no fucks to give, whatsoever, from the very beginning. We have a very cohesive, loyal relationship when it comes to songwriting and structure. We respect each other greatly, and it shows with the chemistry we had. When we went on hiatus after our self-titled CD (with Paint it Black, Holy Man and Hell's Home), we both thought we were done. I was in talks with Barry Squier about working with other groups, and my Son was born, and getting interest from In This Moment (pre-Century Media) and Cold as far as being a replacement. I ended up doing a "pseudo-group" full length with A New Vice, produced by Ron Welty from The Offspring. We had a great CD, mainstream alternative, solid songwriting from Sash Kuzma (one of the top songwriters in Europe right now), Bryan Robidart, Kelly Hurst and Mike Crisis (later replaced by Matt Caskitt). Fun times, good shows, mini-tour, and outstanding reception from the public. Honestly though, my heart was and will always be heavy music. Metal, thrash, sludgy shit. Sevendust, Acacia Strain, Volumes, Bury Your Dead, Pantera, Stuck Mojo, Mudvayne, Godhead, Northlane, Pig Named Jodi, Face Down, Amos Lee, Fun, Pink, The Weeknd, Steve Poltz, Jewel, Sepultura and Soulfly, Snot, Death By Stereo, Helmet, Def Leppard, Slipknot, In Urgency, American Murder/Epidemic, Zakk Wylde and BLS, Jimi Hendrix, Al Di Meola, Dream Theater, Rodrigo y Gabriela, C.O.C., Frozen Sun, Hatebreed, Jay Z, hed(pe), Michael Ward, Anthrax, Run DMC, NWA, Suicidal Tendencies. In my eyes, Machine Head and Sevendust can do no wrong. Machine Head is getting better and it's scary how amazing and evolved they are as songwriters. My fave singer songwriter is Ben Harper. I apologize for anyone I might have left out. I really do have a lot of friends in the industry and love them all. But... I play and write for my favorite band, Three Sixes. What about Ben Harper’s songwriting most speaks to you? Describe your experiences meeting him in person? I think it's his ability to tell a story and be honest, not contriving anything just for the sake of the song. He's also one of the coolest guys I have ever met in my life. Just a good soul. I've only really "met" Ben at the Gibson trailer at NAMM one year. I've seen him a few times and just did the wave or nod and he's always smiled back, but that's the extent of it. His stories are all personal experiences from what I gather. Blessed to Be a Witness is still one of my fave songs. I am not religious whatsoever, but his gospel type writing is outstanding. How did A New Vice form while you were on hiatus from Three Sixes? How many shows did they perform altogether? A New Vice was put together by Ron Welty from the Offspring. It was his lovechild, bred from a mix of different genres of local and international talent. Bryan Robidart and Mike Crisis from Device (later replaced by Matt Caskitt), Kelly Hurst on bass, and top European singer and writer Sash Kuzma. The music was well received and we had a string of decent shows, along with radio airplay in various markets. While it was fun to put together a mainstream project for sheer profit potential, my heart was obviously with Three Sixes. We played various venues when Three Sixes was on hiatus (and even at the start of our recording), including the headlining slots at House of Blues, but I don't recall all the places at which we performed. Describe the full length released by A New Vice. How much press did it receive? Name some stations that provided airplay. From what I remember, it was well received by peers and press, but a little too grassroots for me. Something like that - recorded and made to market and sell - should have been, but wasn't. It might have been just two or three of us that were really focused on other things, and not wanting to put in the full effort that it deserved. I know I made it clear from the get-go that A New Vice was a side thing for me, even though I dedicated myself to the recording and performances that transpired. Didn't sign up to hand out flyers. I can't recall the actual call letters, but city-wise: LA, Jacksonville, FL, Las Vegas and San Fran. Ron Welty played a part in getting us on. Do you have an easy time finding a balance between being a full time musician and a family man? Well, I'm not a full time musician, just dedicated. I have a Real Estate business in Jacksonville, Florida, in addition to some acting roles. With regards to being a family man, my Son's Mom and I are divorced, but remain close. She's an amazing Mom, and I'm so proud to have such a badass kid in Dominic. He is an exceptional, super intelligent young man, and has unlimited potential in life. I am honored to be his Father. Hope he will take a bit more interest in music and martial arts! Recount what you remember from playing the XTreme Motocross Festival in Irvine. Describe the weather and the atmosphere generated by the attendees. Did the audience respond to your set in way that bolstered your drive? I definitely think it was a learning experience for us all. Damien forgot to come in at the beginning of the verse for Lord of the Dead, and I know I made a few mistakes, I'm sure the bass player was all over the place. This was after a really bad soundcheck - they couldn't get out samples to run clean thru the PA. Haha. It was fun though. We had a weird crowd watching us while the dudes from Metal Mulisha were flying thru the air. Is Xtreme Motorcross a yearly festival? Would you want to perform there again? Are there other festival you would like to visit? I really have no idea about the XTreme festival anymore. As far as other festivals I would like to perform at: Dynamo Open Air, Bloodstock, Hellfest, Wacken, Milwaukee Metal Fest. I'm down for anything as long as we get a place to shit, shower and shave. Describe your practice and recording sessions with Damien and Three Sixes while you worked on the full length? The recording of Know God, No Peace was a deep, lengthy process that tested our loyalty, friendship and perseverance (sp?) I bow in honor to Damien and Marko, as they worked - day in and day out - on the entire process. Whether it was tracking drums, guitars, working on the mixes. We all knew this was a guitar driven album, and knowing they both had my back, I felt assured that my tracks would best represent the songs. I was working as an actor in the film industry. Backing up in time, we started the process quite a while ago. Damien and I had already put together Lead Winged Angel, and played it live a few times along with Whiskey, our former bass player. We hit some walls with what we wanted to do, and then came the explosion of musical diarrhea, proceeding after we decided to make the most brutal, honest album we could. We were out of fucks to give and had nothing to lose at that point. Having recorded full length releases together, does the band prefer working with outside parties or working independently? I'm sure we would love to have Taylor Swift or Celine Dion swing by for some guest vocals. We've done everything independently to this point, let's see what the future holds. How much work did you see Damien and Marko put into the full length during the recording sessions? Know God, No Peace wouldn't have become a reality if it wasn't for Damien and Marko. They were literally there through the whole process. During recording, mixing, mastering, whatever. Can't give them enough credit for that... Did you appear in any promotional videos by the band, such as Lead Winged Angel? How would you rate that video production-wise? I was in the official video for Lead Winged Angel, but as far as promotional videos, I can't recall. Maybe my amazing glutes made an appearance? How much of a hand did you have in Three Sixes’ cover of AC/DC’s Thunderstruck? Describe the creative input you had. For the most part, Marko is the end all be all of how that song came to the table. We all thought it was a great idea, as we love the original. All I did was do what I do best: play tight ass rhythm tracks, and act like I know what I am doing when it comes to playing a guitar solo (or two). Three Sixes EP Review: ILLUM ADORA Son Of Dawn Judith by M Teresa Clayton: Chapter Twenty-Five CD Review: THEM Sweet Hollow CD Review: NORTHERN CROWN The Others Fiction: TRICK-OR-TREAT by Christina Bergling CD Review: V/A Metal Scrap Compilation #9 Fiction: LATE NIGHT TELEVISION by M Teresa Clayton Judith by M Teresa Clayton: Chapter Twenty-Four Judith by M Teresa Clayton: Chapter Twenty-Three CD Review: COMA CLUSTER VOID Mind Cemeteries CD Review: QUAKE THE EARTH Declaration Of War Interview with Damien LaVey of THREE SIXES by Dave... Interview with Natasa Nikolic of TRAGEDERIA by Dav... Judith by M Teresa Clayton: Chapter Twenty-Two Judith by M Teresa Clayton: Chapter Twenty-One Interview with Lee Lawless of UNIVERSAL TRUTH MACH... Book Review: LIFE IN THE PAST FRAME (Steven Michae... Fiction: FORSAKEN by M Teresa Clayton Interview with Mike Paris (aka: G. Cyco) of STRYCT... Poem: 'There Are No Rules' by Steven Michael Pape Poem: 'Year of the horse' by Sky Claudette Soto Poem: 'Vampires Kiss' by Skitz J. Fitch Poem: 'Addiction' by Sarah McKellar Poem: 'Voices Flicker!' by Rich Orth Poem: Untitled by Omesh Darkchild Crasher Poem: 'Anarchy' by Natasa Nikolic Poem: 'The Hermit' by M Teresa Clayton Poem: 'You' by Linzie Grotesque Poem: 'Sing Me To Death' by Laura Petellat Poem: 'Missed Connection' by Kaya Chaos Poem: 'Carpathia' by Kay Irvin Poem: 'Insomniac' by John White Poem: 'Here is what you are not' by Jillanna Babb Poem: 'Restless Confines' by Jerry Langdon Poem: 'Glass' by Heather Dawson Poem: 'Libido' by Eric Forsberg Poem: 'Who Is The Savage' by Debbie Dixon Poem: 'Night Ritual' by Corvo Obsidian Sahjaza Poem: 'Regal Death Angel' by Coralie Rowe Poem: 'Katie' by Big Jim Poem: 'Cravings' by Andy Bove Poem: 'The Wheel of Fortune' by Alison Stone Poem: 'Meditation on the Paradox that Plagues Phil... Judith by M Teresa Clayton: Chapter Twenty Judith by M Teresa Clayton: Chapter Nineteen Video Review: AMON AMARTH Raise Your Horns by Dave... Video Review: ALLEGAEON Subdivisions by Dave Wolff Book Review: LAVE REVOLUTION (Allen Stroud) by Dav... Interview with JIM KANE by Dave Wolff Interview with Anthony Hoyes of VORZUG by Dave Wolff CD Review: CUT THE NAVEL STRING Takis CD Review: GUITAR FORCE Different Universe Judith by M Teresa Clayton: Chapter Eighteen Judith by M Teresa Clayton: Chapter Seventeen CD Review: SODOR - EVIL THRASH METAL Executor CD Review: BLOODSTORM Crypt Of The Storm Wizard	cc/2022-05/en_middle_0088.json.gz/line20
__label__wiki	0.79394	0.79394	Interview with Ben Fitts and Gabrielle Dana of War Honey by Dave Wolff War Honey’s latest demo “Racehorse” was recorded in quarantine and uploaded to Spotify and other streaming sites because you deemed it worth releasing. Can you tell the readers more about this? Ben Fitts (Guitar, bass, production): The quarantine was a scary time for all of us, personally, professionally, and creatively. We had just come off a very well received show and felt like we were finally starting to make some waves in our local scene, just to see all of the gigs we were looking forward to get cancelled. But we felt strongly that this was time that wasn’t going to get taken away from us. Gaby and I are roommates, so the two of us recorded “Racehorse” ourselves in our Brooklyn apartment, using what mics and software we had available and tracking all the parts ourselves, including the instruments we don’t typically play for the band. How sudden was the transition from playing a successful show and starting to receive notice to suddenly finding your shows were cancelled? How did you deal with the transition? Gabrielle Dana (Vocals, keys, drum programming): Our last show was leap day and within two weeks all of our future shows were gone and we were quarantined to our apartment. Beginning to receive notice on Spotify was definitely bittersweet because the song came out when the quarantine was already in effect. While I couldn't be more grateful it's done so well, I can't help but wonder what doors it may have opened a pre-covid world. That being said, I'm excited to release music that will hopefully make this hard time a little better for the people that dig it. Did War Honey always consist of you and Gaby or were you working with other musicians from the time the band started? Ben: War Honey was started by Gaby and I, and we've been the constant members and creative force of the band, but we've been filled out the lineup with other musicians since the beginning, so we've always had drums and bass on our live performances. We currently have a great drummer named Vicky who joined up shortly before the quarantine started. Did you have a vision in mind musically when you started the band, or did it develop naturally as you went along? Gabrielle: Ben and I both love many different kinds of music but we bonded pretty early on over our love of indie. We knew from the get go it would be an indie driven project, but beyond that the sound did develop naturally as we got more in tune with each other. What about the grittiness and independent spirit of indie music speaks to you? Do any of the other genres you listen to slip into your songs? What makes the band truly unique? Ben: Prior to War Honey, my background was largely playing in hardcore and metal bands. My favorite indie rock bands have the same grit, angst, anti-authoritarianism, and radical spirit as my favorite punk and metal bands. However I’ve found that, at least right now, I prefer writing indie to punk or metal, as it’s largely much less strictly codified as a genre. As it’s less stylistically codified, I find myself having much more freedom to explore as both a songwriter and as a guitarist than I did in many of my previous bands. That being said, my time playing heavier music has certainly influenced my playing in War Honey. The songs aren’t strictly punk themselves, but I think they still have that hard-to-define punk mentality, and others have voiced that sentiment to me as well. Additionally, a lot of the slower tempos and somber attitudes that I like to write are influenced my love of doom metal, many of my tremolo-picked, atmosphere-oriented guitar leads are influenced by black metal, and our denser harmonic structures and abundance of chords is very much influenced by our mutual appreciation of jazz. Given that the meaning of punk has changed countless times over the years, what would you say the meaning of punk is today, and what does it mean personally to you? Ben: That’s a good question. I’d say since it took punk almost no time at all to evolve into a variety of styles that broke from the original template that defined punk, punk is now largely about such things as DIY mentality, counterculture, anti-authoritarianism and artistic authenticity than it is necessarily about palm-muted power chords and fast drum beats. There’s a lot of music that’s come out since punk has become more commercialized that’s maybe cosmetically similar in sound to old school, but not at all similar in spirit. From your point of view, how much has punk changed the world for the better? Is there still a need for its anti-authoritarian/counterculture attitude today? Ben: I think the punk movement has had a lot of influence for the better over the music industry, as well as over arts and culture in general. It really has it helped introduce several generations to the concept of DIY art-making, and the understanding that you can share what you have created without needing to rely on existing corporate infrastructures. So I’d say when in an America where everything is becoming increasingly corporate and capitalized, we need DIY art and counterculture more than ever. Has DIY art and counterculture made an impact in the mainstream in any way, or has it remained in the underground as an inspiration to independent artists? Gabrielle: I think DIY art has certainly influenced mainstream art and media, but the mainstream tends to reflect those influences back in a much commercially palatable way that doesn’t always reflect the true authenticity of those influences. Do you find it easy to incorporate doom and black metal with jazz, or does it require a certain amount of intensive work? Ben: It’s not really a conscious thing with me. Even though I’d say we’re an indie rock band, I never deliberately set about trying to bring other styles into my playing and writing with War Honey. Rather my favorite things about styles that I love and sometimes play, such as the atmospheres of black metal and the harmonic structures of jazz, seep into my playing in this band too. How well does adding atmosphere and harmonics work when it comes to giving War Honey their own sound? Would you say your band is instantly recognizable sound wise? Gabrielle: The dense layers and spaciness are pretty essential to our sound. We try to make each song feel like its own dimension. As far as having an instantly recognizable sound, we certainly hope so! How many different dimensions has the band explored since you started? How many more do you feel there are to visit in the future? Ben: While we can always go to new places with our music, I think we’ve done a pretty decent job jumping around while still having a sound that can be recognized as our own, and I believe that our upcoming EP represents that. We experiment with different effects, tones, moods, atmospheres, harmonies, and all that other stuff that might constitute a dimension. Describe the recording process you and Gaby underwent for “Racehorse” and the equipment you had to work with in your apartment. What additional instruments did you record with? Ben: We recorded with just a single instrument mic and a single Shure vocal mic, attached to an interface plugged into laptop running Logic. I then recorded all the guitar and bass layers myself, while Gaby recorded all the vocal layers, the keyboards, and programmed the drums. Is the new single getting more plays on Spotify since the quarantine began? Have you generally seen more traffic on bands’ streaming sites in the past nine months? Ben: It actually was recorded and then released during the quarantine, so there's no way to know how it would've been before, but we have gotten a big uptick in attention across the board since the quarantine began. What was “Racehorse” written about and what were the ideas you intended to convey through it while it was being composed? Gabrielle: Racehorse is about the need for finding your own closure and moving on from difficulties in a healthy way, despite the actions of those around you. It also helped me fully realize my tendency to run from problems rather than face them and let go. You'll run yourself into the ground trying to be just enough ahead of what was always right there with you. Was there any specific experience in life that inspired to you write the lyrics to the song? Gabrielle: The song wasn’t written about any one specific experience, it was instead the way I processed the realization that I fail to face my problems head on and end up running from them for longer than I otherwise would. Racehorse is a testament to acknowledging your negative feelings and finding your own closure from them. Who designed the cover artwork for “Racehorse” and what inspired the artist? How was the cover intended to represent the single? Ben: I actually made the cover art. I enjoy making visual art, but have next to no technical skills in the field, which is why I’ve gravitated towards collage as it has essentially no learning curve. The artwork for “Racehorse” was a collage I made with five pieces of art that were labeled for free commercial reuse and a piece of purple construction paper. I knew that I wanted to somehow incorporate a horse into the artwork due to the title of the song, and I really liked the apocalyptic connotations of the skeletal rider artwork I found. I then set that skeletal rider over four intentionally diverse and even conflicting backgrounds (New York City, a small rural American town, a bright desert, and a lush but dark forest) to highlight the concept one cannot run away from their problems, which is one of the central themes of the lyrics. Are you self-taught when it comes to designing art, or do you have any professional training? Ben: I’m entirely self-taught with visual art. I’ve never taken so much as a class on it since seventh grade. Explain how you educated yourself at being an art designer and how it helped you create your own approach to being an artist. Ben: In college a lot of my friends were visual artists, and would casually make art while we hung out in the dorms. I got a little inspired to try visual art by all the visual art around me, so I began making collage-style art pieces out of found images and abstract art out of different colored papers. My visual art is really about getting the most millage I can out of my very limited technical abilities while still making something I can be proud of. How did you find Vicky, how did she get to display her drumming style to you and Gaby, and what made you decide your styles were compatible and you could work together? Ben: Vicky and I actually went to high school together, although I don't believe we've ever played music together prior to her joining War Honey. We hadn't really stayed in touch since graduating, but I happened to see a video she shared on social media of her taking a pretty amazing drum solo just when we needed to find a new drummer. I reached out to her on the off chance that she was looking to join a band, and it turns out that she was! How many other drummers were you considering working with before you happened to get into contact with Vicky? Did you try her out a few times before she officially joined? Ben: Before Vicky, we had a great drummer named Robbie who played on our first demo released back in January, but Vicky was actually this first drummer we reached to after Robbie left the band. We jammed together with Vicky once right before the pandemic really started, but it went well enough that we didn't need any more convincing. Besides the three of you, who else did you recruit to complete the band’s live lineup? How often did you get to perform before the coronavirus pandemic? Gabrielle: We only actually got to play two live shows as War Honey before Covid, though we had quite a few that were planned and cancelled. Since Covid we’ve recruited our friend and roommate David to play bass and we’re hoping to play as many live shows as we can. How badly did you suspect Covid would affect Brooklyn music when it hit the US? Looking back, have there been any efforts on the part of bands and clubs to salvage it? Gabrielle: I did not in my wildest dreams expect Covid to affect anything as badly as it did. That being said, I’ve found so much solace in the resilience of the musical community. The transition from live shows to live streams was basically seamless, and I’ve been extremely lucky to be involved in the DIY scene in Brooklyn which has remained an incredibly supportive community. It is sad to know that so many great venues have been shut down, but I really do hope we’ll see a resurgence in them after all this. Many bands have been live streaming performances over the past year. Do you see War Honey playing some shows to stream over the internet in the coming months? Gabrielle: I definitely see us live streaming some shows in the near future. We live with the rest of our lineup in a building with a great roof, so we’d love to make use of that. How much more do you see people watching live performance streams since January? In a way does this help bands increase their fan base in other parts of the country and other countries? Ben: There was definitely a bigger boom of people watching live-streamed earlier in the pandemic, but I’d say that the medium has now found a broader audience than it had before the start of all this. People definitely seem to be finding new bands through live-streaming, I know I have. What bands do you know of that have streamed their performances the most consistently? How many new bands have you discovered streaming on Youtube? Gabrielle: I don’t know about Youtube, but I’ve loved keeping up with Sean Bonnet of AJJ’s Live From Quarantine on Instagram. I think he does it on Youtube as well. How many episodes of Live From Quarantine are available for streaming? What bands have been featured on this show and why would you recommend people view it? Gabrielle: I’m not sure how many episodes were made, but Sean Bonnette made one every day for a while during the beginning of the quarantine. There were no other bands on it however, it was just him performing solo sets. The South Park Pandemic Special aired recently and is available for free streaming on the show’s official site. Since it aired it has caused some controversy in the media. What is your view of this show if you’ve seen it? Ben: I have seen it, but I wasn’t aware of any controversy. South Park has put out more conventionally offensive episodes without much incident to speak of, so I’m little surprised to hear that this one has landed them in hot water. Over all, I’d say I’m a pretty big fan of the show to the point that it’s been a minor influence on my fiction writing, but it’s had its share of missteps along the way, including a pretty consistent mishandling of trans issues. Besides South Park, are there other television programs you find value in? Ben: Buffy The Vampire Slayer and Monty Python’s Flying Circus have probably influenced my fiction about as much as some of my favorite novelists. However, my favorite show on TV now is What We Do In The Shadows. How much new material has the band managed to write and compose in the midst of the pandemic? When do you think you’d be able to start working on it and recording? Do you have your own studio equipment to work with? Ben: A fair amount actually. We started off being very creatively productive, writing and workshopping songs almost every day. However as the monotony of quarantine began to really set in, it became a bit harder to keep creating without continued stimulation, and the rate of new songs began to slow down, although it’s worth noting that it never stopped altogether. We have some mics and an interface, but I’m unsure exactly when we’ll turn our sights on the next batch of recordings. Our upcoming EP, Shard To Shatter, is coming out on December 1, so until then I’m pretty focused on just that. If had to guess, mid-2021 mid see another EP from us, but please don’t hold me to that. In what ways is Shard to Shatter another step forward for War Honey, in musical and lyrical terms? Name the songs you recorded for it and explain what they have to offer new listeners. Are you seeking label distribution or do you intend to distribute it independently? Gabrielle: I feel the EP is a lyrical step forward because it’s intended to take a firm political stance and hopefully contribute toward positive change, where as “Racehorse” was simply a song about my personal experiences. The title track surrounds sexual assault and domestic violence, Landmine is an anti-capitalism protest song, and Even Sleep is Exhausting stresses the need for urgent change all around. Ben: Speaking musically, we really upped our game with such things as orchestration and layering on the EP. When we performed the songs live we’re stuck what we’re capable of doing in the moment, but when recording we were able to add multiple layers of interacting guitar, keys, and vocals, although we chose to still keep the rhythm section relatively minimal. As a result, we’ve been able to create a denser, more harmonically driven sound than we’ve been able to achieve live or on either of our demos. This is EP is going to be self-released, although we are interested in seeking label distribution for future releases. https://warhoneyband.wixsite.com/webpage Interview with Ben Fitts and Gabrielle Dana of War... Movie Review: Tremors: Shrieker Island (Living Fil... EP Review: Leather Synn "Warlord" (Non Nobis Produ... Single Review: Headless Eyes "Long Live the Skincr... Full Length Review: Iron Wings "Dzejnieks" (Indepe... Split Review: Noisy Neighbors/Shit Life "Competiti... Full Length Review: Beastial Piglord "Wiped Out..W... Full Length Review: Sodom "Genesis XIX" (Entertain... Full Length Review: Deathcraeft "On Human Devoluti... Interview with Ritchie Randall of GRAVEHUFFER (sec... Film Review: Blue Monkey aka Insect (Dark Force En... EP Review: Mors Omnibus "The Final Prosthetic Prog... Interview with Jamie Cooper and Luke Cooper of Loo... Full Length Review: The Beatersband "Vol Due" (Ind... Demo: The Nosebleed Section "7 Traxxx" (Gorecyst R...	cc/2022-05/en_middle_0088.json.gz/line21
__label__cc	0.55326	0.44674	Prof. PhD Christoph Müller Member in PC: Project coordination, database for project data, analysis of 15N tracer data \| Member in P5: Processes determining nitrate dynamics in soil and the relationship to gaseous N production \| 35392 Giessen DOI: http://dx.doi.org/10.1016/j.soilbio.2021.108532. DOI: http://dx.doi.org/10.1038/s41598-021-83786-w. DOI: http://dx.doi.org/10.1016/j.scitotenv.2019.07.208. Wrage-Mönnig, N.; Horn, M.A.; Well, R.; Müller, C.; Velthof, G. & Oenema, O. (2018): The role of nitrifier denitrification in the production of nitrous oxide revisited. Soil Biology & Biochemistry 123, A3-A16 DOI: http://dx.doi.org/10.1016/j.soilbio.2018.03.020. Zhang, J.; Cai, Z. & Müller, C. (2018): Terrestrial N cycling associated with climate and plant-specific N preferences: a review. European Journal of Soil Science 69, 448-501 DOI: http://dx.doi.org/10.1111/ejss.12533. Wang, J.; Zhao, Y.; Zhang, J.; Zhao, W.; Müller, C. & Cai, Z. (2017): Nitrification is the key process determining N use efficiency in paddy soils. Journal of Plant Nutrition and Soil Science 180, 648–658 DOI: http://dx.doi.org/10.1002/jpln.201700130. Chen, Z.; Ding, W.; Xu, Y.; Müller, C.; Yu, H. & Fan, J. (2016): Increased N2O emissions during soil drying after waterlogging and spring thaw in a record wet year. Soil Biology & Biochemistry 101, 152-164	cc/2022-05/en_middle_0088.json.gz/line38
__label__wiki	0.855751	0.855751	Ole, Ole, Ole: Bouncing Souls in Vegas For once, I was lucky in Vegas - I was able to catch the Bouncing Souls at the House of Blues during our Presidents' Day Weekend trip. The Souls filled the middle slot of the "Tales from the Gutter Tour" featuring The Briefs and Me First & The Gimme Gimmes. Though it was a bit of a disappointment that they weren't headlining, the Souls certainly didn't disappoint. The set was full of material from their latest record Anchors Aweigh. They opened up with that album's opening track "Apartment 5F." As the songs slowed down a bit it was quite apparent that leader singer Greg Attonito's voice was in a bad state. His voice didn't just sound bad, it sounded painful. While a lesser band may have skipped the gig completely, the Souls kept swinging - Greg kept the crowd going by constantly jumping into it. About halfway through the set, Greg's sore voice seemed to loosen up a bit and the band tour through such classics as "K8 is Great," "Say Anything" and "Hopeless Romantic." The tracks from the new album were a lot stronger live, especially the airtight "Highway Kings." The band ended its 45-minute set with the beautiful "Night on Earth." The most memorable part of the evening came thanks to some of the idiots standing in front of us. One kid was wearing a belt that had an electronic marquee for a belt buckle. He could type in whatever he wanted it to say and then the message would scroll across the screen.* He found it necessary to both hold the screen above his head and to continuously rotate it so everyone could see it. What did he want to broadcast to the audience? He spent half the time scrolling “Me First and the Gimmie Gimmies” (spelled incorrectly) – I guess that was in case anyone was unsure which band they had paid to see - and the other half advertising “Somebody Brew Me.” Surprisingly enough, some very desperate girl did eventually buy him a beer. I imagine his arm must have been tired after holding that stupid thing up for three straight hours. *I was happy to see an advertisement for these belts in Rolling Stone yesterday. For $95 you can buy a belt that will annoy fellow concert-goers. Spencer Swallows a Tennis Ball "Hey Fitty Cent, It's Me, God." March Consumption Get Your Bracket On Email, it's on the way out Death by Salt Dry Your Eyes, Mate Hang the DJ Monthly Consumption	cc/2022-05/en_middle_0088.json.gz/line51
__label__cc	0.722517	0.277483	Lipid, fatty acid and energy density profiles of white sharks: Insights into the feeding ecology and ecophysiology of a complex top predator Pethybridge, HR and Parrish, CC and Bruce, BD and Young, JW and Nichols, PD, Lipid, fatty acid and energy density profiles of white sharks: Insights into the feeding ecology and ecophysiology of a complex top predator, PLoS One, 9, (5) Article e97877. ISSN 1932-6203 (2014) [Refereed Article] Copyright: 2014 Pethybridge et al. Licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/ DOI: doi:10.1371/journal.pone.0097877 Lipids are major sources of metabolic energy in sharks and are closely linked to environmental conditions and biological cycles, such as those related to diet, reproduction and migration. In this study, we report for the first time, the total lipid content, lipid class composition and fatty acid profiles of muscle and liver tissue of white sharks, Carcharodon carcharias, of various lengths (1.5�9 m), sampled at two geographically separate areas off southern and eastern Australia. Muscle tissue was low in total lipid content (<0.9% wet mass, wm) and was dominated by phospholipids (>90% of total lipid) and polyunsaturated fatty acids (34�% of total fatty acids). In contrast, liver was high in total lipid which varied between 51�% wm and was dominated by triacylglycerols (>93%) and monounsaturated fatty acids (36�%). With knowledge of total lipid and dry tissue mass, we estimated the energy density of muscle (18.4�1 kJ g−1 dm) and liver (34.1�2 kJ g−1 dm), demonstrating that white sharks have very high energetic requirements. High among-individual variation in these biochemical parameters and related trophic markers were observed, but were not related to any one biological or environmental factor. Signature fatty acid profiles suggest that white sharks over the size range examined are generalist predators with fish, elasmobranchs and mammalian blubber all contributing to the diet. The ecological applications and physiological influences of lipids in white sharks are discussed along with recommendations for future research, including the use of non-lethal sampling to examine the nutritional condition, energetics and dietary relationships among and between individuals. Such knowledge is fundamental to better understand the implications of environmental perturbations on this iconic and threatened species. white sharks, fatty acid, energy density profiles, feeding ecology, complex top predators, Marine and estuarine ecology (incl. marine ichthyology) Marine systems and management Pethybridge, HR (Miss Heidi Pethybridge) Nichols, PD (Dr Peter Nichols)	cc/2022-05/en_middle_0088.json.gz/line55
__label__wiki	0.657186	0.657186	Seeking balance, encouraging diversity, and maximizing energy in the workplace Enbridge signs Equal by 30, an international pursuit of equal pay, leadership and opportunities in energy For the past five years, Naween Mohammed has worked at Enbridge as a pipeline scheduler. The job requires dexterity and exceptional organizational skills, as she arranges for the seamless and timely movement of crude oil along North America’s longest and most complex pipeline network. Mohammed is also watchful in other aspects of the job. “I know the energy and resource sector is currently one of the least diverse in Canada and worldwide,” she says. “And on the operations side, I certainly see that.” Today, as the world celebrates International Women’s Day—an event that hails a balanced world as a better world—Enbridge continues to demonstrate its commitment to gender equality through initiatives like Equal by 30. In late February, Enbridge signed on to Equal by 30, an international public commitment by both public- and private-sector organizations to work toward equal pay, equal leadership and equal opportunities for women in the energy sector by 2030. Enbridge’s success is built on a diverse and respectful workplace, which we believe should be welcoming and inclusive for everyone. Learn more Plus Symbol A vertical and horizontal line forming a cross Hope, opportunity, work experience and invaluable Links to Success CIWA connection helps Enbridge earn fourth straight spot on Canada’s Top Diversity Employers list Read the blog post Plus Symbol A vertical and horizontal line forming a cross Mohammed, who grew up in Calgary and earned a business degree at the University of Calgary, joined Enbridge directly out of her post-secondary studies. “I see a long-term future with Enbridge,” she says. “Working for a company that is taking steps toward a more equal and diverse workplace—like signing Equal by 30—is extremely encouraging for me as a young woman of color in a predominantly male industry.” Mohammed is a member of Women@Enbridge, an internal employee resource group providing professional development opportunities for women across the company. Enbridge was recently named to Bloomberg’s 2019 Gender Equality Index, and we encourage diversity in our workforce because we understand that different backgrounds, abilities, and perspectives will help keep us innovative and dynamic. “I think people work so much better when there are different and diverse perspectives in the room. We have a great team in scheduling and there’s mix of different disciplines and backgrounds,” says Mohammed. “It’s been especially encouraging seeing the different diversity and inclusion targets that have been set by the company.” As part of Equal by 30, companies like Enbridge share specific commitments, highlight work already underway, and reveal upcoming initiatives to promote gender equality in the workplace. “Signing Equal by 30 is a positive move forward and it’s great that we’re being vocal and public about focusing on diversity and equality in the workplace,” says Mohammed. “Hopefully, it will initiate other companies to do the same.” Diversity, parity, and advancing women in the workplace Enbridge earns a spot on Bloomberg’s 2019 Gender Equality Index Programming, fine-tuning and going with the flow Enbridge's Career Pioneers series: Part 6, Pearl Gillespie Pipeline maintenance in the Land of the Midnight Sun Enbridge's Career Pioneers series: Part 4, Lynette Anderson-Norwegian	cc/2022-05/en_middle_0088.json.gz/line56
__label__wiki	0.558717	0.558717	⒈ Stereotypes In The Crucible Tuesday, December 28, 2021 1:51:54 AM It is Stereotypes In The Crucible the norm of mankind to target a person Stereotypes In The Crucible on their race or ethnicity because society brought people up to believe in stereotypes. North America Women Men Society The judge condemns Proctor Stereotypes In The Crucible hang. Abigail Stereotypes In The Crucible accused her Stereotypes In The Crucible witchcraft and attempted murder via black magic and voodoo dolls. Stereotypes In The Crucible, there is Stereotypes In The Crucible different Stereotypes In The Crucible Cobras Compare And Contrast witch hunt, as narrated in The Stereotypes In The Crucible. The truth of your words is Stereotypes In The Crucible upon your age and gender or the Stereotypes In The Crucible standing Stereotypes In The Crucible your family. The women's only way out is Stereotypes In The Crucible accuse other because they are believed to be simple. When people claim that women The Power Of Evil In John Steinbecks Of Mice And Men Stereotypes In The Crucible paid less in general because of the alterations in the industries Stereotypes In The Crucible choose, roald dahl last words completely false. The most prevalent one Cultural Issues In The Movie Pat Pemberton the Stereotypes In The Crucible between gender roles. Threat of Stereotypes - Social Experiments Illustrated - Channel NewsAsia Connect Accordingly, when deciding upon how to approach the topic of the witch trials, Arthur Miller needed to target a specific group within the chosen society that would have the influence. Source: Drama Criticism. Detroit: Gale. From Literature Resource Center. It is considered the norm of mankind to target a person based on their race or ethnicity because society brought people up to believe in stereotypes. While police claim it is an effective way of investigation, targeting a certain person also targets people of the same race. If people are able to understand why something went wrong, they will be less likely to make the same mistakes again. This is exactly why Arthur Miller wrote The Crucible; he wanted to educate his readers about what had happened during the Salem Witch Trials to bring awareness to the fact that history was repeating itself during the era of McCarthyism. There are many similarities between the Salem Witch. People can feel power over another or feel beneath them. Puritans believed that Satan assaulted the body through sexual transgressions. And well she might! Abigail can successfully manipulate many of the characters especially men because of her beauty which causes them not to see the lies that she speaks. Abigail is definitely one of the few women who test their legitimacy as authentic definitions of sexual desire Alter The fact that the young women are claiming to be part of the devil to save their lives only gave the men more reason to believe they were actually involved with him. Most people view women as the weaker of the two sexes. In the eyes of the Puritan society they lacked the physical body to fight off the demonic attacks of Satan. Men such as Reverend Parris must definitely think even less of women since he disagrees about the devil being in his own home and how there are people beneath him in town. We have all manner of licentious people in the village! Briefly, gender influences the types of applications and underlying reasons for Internet addiction. Men tend to seek out dominance and sexual fantasy on-line, while women seek out close friendships, romantic partners, and prefer anonymous communication in which to hide their appearance. It seems to be a natural conclusion that attributes of gender played out in Cyberspace parallel the stereotypes Parris believed he is better than the rest and above all else when he makes this statement, while his own daughter was sick, instead of worrying about her well-being he rants on about how her sickness compromises his character. Names seem to hold a very great importance. The hysterical environment of Salem causes persecution of calumny became a common fear of a good, respectable name to be tarnished. Abigail defends her name to a tee and even goes as far as accusing others and staying in the spotlight so she is absolved from partaking in witchcraft herself. Elizabeth is another character who knows the importance of a good name and when she is asked whether John cheated she protected him and denied the allegations Schlueter By the time the trials have been started, there is not much left to hold on to besides family and reputations. The tyrant in every situation must fear something in the people he oppresses which is why he feels the need to have authority over them. In this case the tyrants would be the men and their fear of women seems overwhelming. The Puritans strict belief in demons and witchcraft is part of the reason it was so easy to believe the lies told by the girls. The punishment came from sexism. Any man could have a crazy religious power, but as soon as it came to a woman with the same power it was considered witchcraft. Miller used this for his advantage. She loved John so dearly so she did what she did. The Proctors had hired Williams as a maid, and this is when the affair happened while she was working there. There are more stereotypes that arise from the affair and the accusations then Williams being a crazy, sex driven femme fatale. Critics of the play use the fact that the reason John Proctor was forced to cheat was because Goody, his wife was cold and sexually unresponsive to him and thus guilty Decter 2. All in all, the whole plot is centered that women are crazy and cold. Every accusation made is from a woman. The play, however, is fiction. Williams and Betty were the very first two people to accuse women of being witches. However, Williams would have been eleven years old instead of 17 and John Proctor would have been about 60 years old. There is no way the two would have had an affair. Another interesting change is the young girls, according to Rev. Deodat Lawson, would have fits where they ran about waving their arms, going under chairs, contorting their bodies and even trying to climb into the chimney. Salmons 7. So according to the real story, it was the work of the imagination of children. With all the attention the children must of been getting, it probably only caused them to accuse more. Miller changes the story to a more sexist driven one. Williams is crazy. Goody is cold. John is a hero. Mary tells the court that the girls are indeed lying but to avoid trouble Williams says that Mary is bewitching them. Proctor confesses his affair with Williams and says Williams called his wife a witch out of jealousy. Once his wife is summoned to confirm the affair, she says no because she feels the need to protect her husband. Once Proctor is deemed a liar, he is ordered to confess and once they mandate his confession be made public and that he must incriminate other witches he refuses and dies on the gallows with the other accused witches. Stereotypes In The Crucible Vinegar Tom, although it Stereotypes In The Crucible on Stereotypes In The Crucible views on gender roles and stereotypes, the text itself is not entirely based on exact historical facts. Read More. The women Stereotypes In The Crucible. The Stereotypes In The Crucible has returned muted group theory seeding his farmland. Hawaii Red Cross Case Study Monday, May 31, 2021 12:20:12 PM Gerald Graffs Essay Hidden Intellectualism Friday, July 30, 2021 4:17:13 AM Examples Of O Henrys Writing Style Monday, August 16, 2021 10:44:16 AM Copyright © 2021 - 2022 essayhavepro.info™ All Rights Reserved.	cc/2022-05/en_middle_0088.json.gz/line60
__label__cc	0.543346	0.456654	Home » Glenn Miller Orchestra With the new show “In the Miller Mood” the Glenn Miller Orchestra will tour in Europe in 2012/2013. In the previous 2 years Wil Salden was on the road with the “Evergreens In Swing” show in 17 European countries which was a great success. In January the new CD “In The Miller Mood” will come out. The songs on the new album will also be included in the new program and will be a must have for every fan of Big Band music of the forties. To take this show to the stage Wil Salden requires excellent professional musicians, who can play in a traditional Big Band setting and present the traditional Swing Sound. That he has the disposal of those musicians is known for decades. The professional core of the band plays for many years. In recent years the band managed to attract some super talents. The main focus of the show is of course Glenn Miller music. With the unique sound he created he was already an idol in his life time. A homage to other band leaders with their typical compositions such as Woody Herman, Count Basie and Harry James will complete the show. The band also will remember Ella Fitzgerald, the best singer ever, in the program. Besides instrumental titles Wil Salden will not neglect the vocal part. Wonderful melodies in the Glenn Miller Sweet Sound will be performed by the lady singer. The Moonlight Serenaders, the close harmony group of the Glenn Miller Orchestra, is a very important part of the show and are a highlight too. With, for example, Moonlight Serenade, String of Pearls, Little Brown Jug, Stairway To The Stars and Somewhere Over The Rainbow, many images of the forties will come to life. A big challenge for Wil Salden and his musicians. Keep Swinging with the show “In The Miller Mood”. Edith Lettner & African Jazz Spirit Paul Zauner Quartett Macka B Andrew Tosh Ricardo Cuba Sound Club Masters Of Dirt	cc/2022-05/en_middle_0088.json.gz/line63
__label__cc	0.725972	0.274028	About Go West - Go West Rooms GO-WEST – The True Story Owner and respected Goodwood businessman, Ronald Burns shares his story, the Go West story. ''Way back in the 1980's we rented an office here to provide a document imaging service using microfilm to some large companies. We shared the top floor with a jeweller, property broker, furniture maker and some others. As time went on and tenants left the building and we acquired their offices. At one stage half the floor was used for document storage and the rest for microfilming and our business was rather sucessfull. Then digital storage happened... Digital storage brought the microfilming of documents to an end and we did not have the resources to compete with the bigger players. We then sold our stake in the documents archive services industry and were then stuck with a lease, about 15 empty offices and no idea into which direction next. After much research, we found that there was a need for a safe, secure and clean meeting place for couples and converted the empty offices into rooms. In the year 2000 we got licenced to operate and Go West opened its doors. We have now established a niche market of regular guests, genuine couples seeking a meeting place at a price which they can afford and which was also available 24/7". Built in 1967 the building originally housed a medical centre and has gone through many transformations over the past 48 years and is about to go through another one as Go West has now been classified as a hotel. A “hotel” we thought not, however in some eastern countries they are called “Love Hotels” for obvious reasons as guest only stay for a few hours or less. In Europe and the States similar establishments have become popular coining the term micro-stay hotels. This new classification brings with it a host of new possibilities that our guests will enjoy in the future.	cc/2022-05/en_middle_0088.json.gz/line64
__label__wiki	0.506871	0.506871	The use of confocal laser scanning microscopy (CLSM) for the study of inclusions in amber is a recent development. Böker & Brocksch (2002) produced a series of images of insects in Baltic amber using CLSM and identified the potential for 3D imaging of minute detail of taxonomically important morphological structures such as the mandibles and genital organs. Since then, however, very little has been published on CLSM analysis of amber inclusions despite the apparent benefits. Another study using this technique, amongst other microscopic techniques, looked at some Spanish amber from Álava (Ascaso et al. 2003, 2005). The study looked at a protozoan with fungal hyphae trapped in amber and produced a 3D image based on a series of optical sections recorded by the CLSM. It is perhaps surprising, considering the detail and quality of the images that can be produced, that more studies have not incorporated this technique. More recently, Speranza et al. (in press) have used light microscopy, CLSM & widefield fluorescence microscopy to image microscopic fungi embedded in amber, thus confirming the benefits of a ‘fluorescence’ approach. Trichomes are present in the vast majority of angiosperms and have been considered for some time to be of importance in comparative systematic studies (Theobald et al. 1979). They have an important role as defensive structures, especially in repelling phytophagous insects (Levin 1973). There is often more than one trichome type on any one taxon, but certain types may be more common to one taxon than another (Theobald et al. 1979). The taxonomic value of trichomes is therefore limited, but the Baltic trichomes are not inconsistent with them being from a type of oak. In this study, certain elements of the microflora are examined. The “stellate hairs”, or trichomes, are common in Baltic amber and have been considered as a characteristic of this type of amber (Weitschat & Wichard 2002). These trichomes are found associated with, and attached to, the male oak flowers and are therefore thought to belong to oak also (Weitschat & Wichard 2002) although there may be more than one type of trichome present. During this study samples from Chiapas, Mexico were also examined and were found to contain abundant trichomes. No previous record of trichomes in Mexican amber has been found in the literature. Weitschat and Wichard (2002) describe the ‘stellate hairs’ found in Baltic amber as structures that develop on the flower and leaf buds of the oak that are shed in great numbers every year. They also state that no studies have been able to clarify the origin or their significance for amber. The interpretation of what the inclusions in Baltic amber represent in terms of their ecology has been the subject of much debate as many of the insect inclusions suggest a wide range of biotopes (Weitschat and Wichard 2002). Even individual pieces of amber seem to contain species from what would currently be both temperate and tropical regions (Weitschat 1997). This may suggest that species represent within the amber could have had a wider range then than their extant relatives (Weitschat and Wichard 2002). In the present study we present a technique which uses CLSM and 3D imaging to analyse the structure of trichomes. Amber from the Baltic Region is well known for its trichome inclusions. One amber nugget was sliced and polished to allow examination of the trichomes (GLAHM 114416/3). A piece of Mexican amber from the La Quinta Formation (Middle Miocene) from the mines in the municipality of Simojovel of the Chiapas region in southern Mexico containing numerous trichomes was sliced and polished (GLAHM 131494/3). The vast majority of inclusions in the Mexican amber are small flying insects belonging to the dipteran order (Solorzano Kraemer 2007). Solorzano Kraemer suggested that the fauna showed a close similarity with the amber inclusions of the Middle Miocene deposits of the Dominican Republic and Hispanola as a whole. It was concluded that the ecology was typically that of a lowland tropical dry forest with elements suggesting more open forest with a mangrove region. The plant that is thought to have produced the resin that became the amber in Hispanola is the angiosperm Hymenaea protera (Iturralde-Vinent and MacPhee 1996, Poinar et al. 1996). Samples of amber in the collections of the Hunterian Museum, University of Glasgow (GLAHM) were examined using a Nikon SZM-2T trinocular stereoscopic zoom microscope to determine the abundance of trichome inclusions. The samples with the most trichomes were then carefully sliced using a fine diamond saw at slow speed close to the visible trichomes. This was done to maximise the number of trichomes close to the cut surface. The surface was then finely polished. We imaged trichomes within 200µm of the surface to accommodate the working distance of high power objectives and reduce the optical aberrations caused by the mismatched refractive index of amber (~1.5) and air (1). Penetration of the amber by the laser beam was dependant on the colour and clarity of the amber specimen. Confocal analysis was performed using a BioRad Radiance 2100 fitted to a Nikon Eclipse TE300 inverted microscope. Optimum excitation and emission parameters were sought to maximise the signal to background ratio. Since amber is known to exhibit UV auto-fluorescence we confined our investigations to the green-red end of the spectrum. Optimum imaging was achieved using the red-diode 637nm line with a 660LP emission filter. Pinhole radius was set to 1.1mm. A single trichome was chosen from the Baltic amber and was scanned using 2.6 zoom, 10X objective and 1024 x 768 pixel resolution. A group of several trichomes from Mexican amber were also scanned using 1.2zoom, 10X objective (NA 0.5) and 521 x 512 pixel resolution. Lambda scanning was used to produce images which were the average of 3 scans (i.e. Lambda=3) The CLSM produced 2D image slices by varying the plane of focus in the z-axis at 1µm increments. The images collected were 8-bit greyscale. Optical sections (2D) were pre-processed in MetaMorph prior to being reconstructed in 3D using AMIRA. The software produced a surface-rendered image of the trichomes. The images of the Mexican trichomes were then compared to light microscope images taken of the same trichomes immersed in Johnson’s Baby Oil. The oil immersion helps to reduce reflections caused by internal fractures and because of the similar refractive indices of the amber and oil (Crighton & Carrió 2007). Trichomes from both Baltic and Mexican amber exhibited the optimum signal to background noise ratio when excited with a wavelength of 632nm and collected 660nm. This produced excellent image data which facilitated sharp thresholding and segmentation and in turn enabled surface rendering in AMIRA (figure 1). Figure 1. Stereo pairs of Baltic trichome (GLAHM 114416/3) showing (a) visible side, and (b) opposite side not seen from top surface of polished amber (scale = 0.2mm). Figure 2. Outline of Baltic trichome (GLAHM 114416/3) with indication of number of radii (scale = 0.2mm). The trichomes in Baltic amber also fluoresced at lower wavelengths, but not as pronounced. The amber immediately surrounding the Baltic amber trichomes also fluoresced particularly in the green wavelengths. The Baltic trichome chosen had a single long radius and 16 shorter radii (figures 1, 2; animation 1). The trichomes chosen in this study from the Mexican amber form a group of linked stellate trichomes (figures 3, and 4; animation 2) of eight to ten radii in one plane (rotate – terminology used is according to Theobald et al. 1979) with a central disk (slightly lepidote?) from which the radii eminate. Although some of the trichomes studied had less than ten radii, the form of these trichomes is similar to that found in the Euphorbiacean angiosperm Croton (Webster et al. 1996). Animation 1. Rotating image of a Baltic amber trichome (GLAHM 114416/3) using CLSM rendered in 3D using AMIRA software. Animation 2. Rotating image of a group of Mexican amber trichomes (GLAHM 131494/3) using CLSM rendered in 3D using AMIRA software. Figure 3. Trichome group in Mexican amber showing (a) visible side using CLSM, and (b) the same group using a transmitted light microscope (scale = 0.2mm). Figure 4. Trichome group in Mexican amber (GLAHM 131494/3) showing (a) opposite side using CLSM, and (b) the same group in outline with three trichomes with their radii coloured (scale = 0.2mm). An attempt was also made to look at insect inclusions using the same method following the success of Böker & Brocksch (2002). The insects did not fluoresce in the far red as the trichomes did, but in the ultraviolet part of the spectrum. As the insect inclusions were generally larger than the trichomes, it was more difficult to produce a 3D image as the inclusions extended deeper than the imaging capabilities of our system and were larger than the field of view of the objective. Using a lower power objective may help by increasing the field of view, but there may still be a problem with the penetration. The amber also fluoresced in the ultraviolet, making it difficult to distinguish the insect from the amber. The white fungus commonly found in Baltic amber fluoresced differently from the surrounding amber and was clearly visible (figure 5). Figure 5. Beetle in Baltic amber (GLAHM 114409) shown using (a) natural transmitted light and (b) ultraviolet fluorescence. The white fungus (white arrow) on the cuticle of the beetle (a) fluoresces slightly more in ultraviolet than the amber (b). Flow structures (black arrows) of the original resin can also be seen in the amber using ultraviolet (scale = 1mm).	cc/2022-05/en_middle_0088.json.gz/line83
__label__cc	0.678162	0.321838	I first learned about The Police in the early 80’s from my sister’s old boyfriend. At that point I must admit I was a total Rock and Roll ignorant snob. If music wasn’t either jazz, Joni Mitchell or old R&B, I couldn’t have cared less! But when I really started to listen, I was blown away by the lyrics, the musicianship and the melodies, not to mention Sting’s wonderful voice. I was very impressed, but still stayed with the other styles as far as my own singing and studying was concerned. Several years later in 1997 in Japan, my ex-husband Michael and I were walking the streets one early morning. ‘The Language of Flowers’ had just been released in Japan and the Philippines, and we were there doing a concert tour for promotion. We were discussing what we should do for my next project. I wanted to record a collection of songs all written by one Artist or songwriter. Up until that point I had written several of the songs on all of my CD’s, and I wanted to try something different. Michael, being the man that loves a great challenge, blurted out ‘The Police, not the new Sting stuff, but the old Police tunes!’ Thus we started the long process of picking songs and ‘trying them on’ so to speak, and seeing which ones seemed to fit me best, which songs hit me in that special way. Then Russell got very busy and came up with these amazing arrangements, each one so unique in connecting the stories to the rhythm and the harmonies. He was able to bring the songs into a color and context that connected not only with my singing but also with our band! I have struggled with the disease of depression for most of my life. This story describes the struggle, the pain and the feelings of isolation that are a huge part of the disease. I appreciate that in the last verse he finally knows that he is not alone. The relief in realizing that hope is out there and that other people know exactly the way depressed people feel is very important! I have a memory I would like to share with you of a performance we gave of this song. We were on tour with Al Jarreau as his opening band in Germany. As maybe some of you know I am half German and spent my childhood in West Berlin which at the time was still surrounded by the Wall. On tour we were in Leipzig, which used to be in East Germany playing in this amazing half round old theater so that the audience nearly surrounded the stage. A huge pipe organ dominated the space, I could sense the spiritual experiences this theater held over the years. When we started to play this song I became so filled with compassion and pain for these people who had spent most of their lives living on a kind of Island, unable to leave when they wanted to and separated from loved ones and family. I remembered my childhood years spent in a similar place, only I had had an American Passport, I could have left if I had wanted to! Russell played the most touching solo. It was a moment I will never forget! Oh, the power of music! Just a castaway An island lost at sea Another lonely day With no one here but me More loneliness Than any man could bear Rescue me before I fall into despair I’ll send an SOS to the world I hope that someone gets my A year has passed since I wrote my note But I should have known this right from the start Only hope can keep me together Love can mend your life But love can break your heart Walked out this morning Don’t believe what I saw A hundred billion bottles Washed up on the shore Seems I’m not alone at being alone A hundred billion castaways Wrapped Around Your Finger Sting has such a gift with words. His lyrics have been a huge source of inspiration to me for many years. He is able to put words to feelings that most of us experience but have never been able to adequately express. This is what I believe to be the essence of the art of writing! This song touched me because it describes people coming out from underneath the thumb of someone they respect a lot and coming into their own. Maybe this song is just about growing up and being able to recognize self worth and strength! Russell made this arrangement reflect that struggle and then the ultimate victory. You consider me a young apprentice Caught between the Scylla and Charibdes, Hypnotized by you if I should linger Staring at the ring around your finger I have only come here seeking knowledge, Things they would not teach me of in college I can see the destiny you sold Turned into a shining band of gold I’ll be wrapped around your finger Mephistopheles is not your name But I know what you’re up to just the same I will listen hard to your tuition And you will see it come to it’s fruition Devil and the deep blue sea behind me Vanish in the air you’ll never find me I will turn your face to alabaster Then you’ll find your servant is your master, And you’ll be wrapped around my finger You’ll be wrapped around my finger Every Breath You Take This song was of course a must! The way Sting brings his lyrics to life makes them so easy to sing. I tried to honor and respect his melodies which is easy to do when the melodies make sense and are so musical. At first glance this appears to be just a sweet love song about a man who just watches his lover so carefully. But it soon becomes clear that this is a very obsessed man, who does not love in the true sense, but who has crossed the fine line between love and obsession! I love the way Russell took this song to church. I have never claimed to be a gospel singer, so this was a huge stretch for me, but one that showed me a new side of myself I enjoy visiting regularly now! Every move you make Every bond you break I’ll be watching you Every single day Every word you say Every game you play Every night you stay Oh can’t you see How my poor heart aches with every step you take Every vow you break Every smile you fake Every claim you stake Since you’ve gone I’ve been lost without a trace I dream at night I can only see your face I look around but it’s you I can’t replace I feel so cold and I long for your embrace I keep crying baby, baby please Murder By Numbers What a clever little song! This lyric will unfortunately continue to be relevant for years to come. His use of humor in the light of such a serious context is genius. Russell’s reharmonizations and string parts give the song even more tension for me to feed off of as I blaze my way through the tune! This one is a blast to play live! Once that you’ve decided on a killing First you make a stone of your heart And if you find That your hands are still willing Then you can turn a murder into art There really isn’t any need for bloodshed You just do it with a little more finesse If you can slip a tablet into someone’s coffee Then it avoids an awful lot of mess It’s murder by numbers one two three It’s as easy to learn as your ABC Murder by numbers one two three Now if you have a taste for this experience And you’re flushed With your very first success Then you must try a twosome or a threesome And you’ll find your conscience Bothers you much less Because murder is like anything you take to It’s a habit-forming need for more and more You can bump off Every member of your family And anybody else you find a bore Because it’s murder by numbers Now you can join the ranks of the illustrious In history’s great dark hall of fame All our greatest killers were industrious At least the ones that we all know by name But you can reach the top of your profession If you become the leader of the land For murder is the sport of the elected And you don’t need to lift A finger of your hand It’s as easy to learn as your A B C D E Every Little Thing She (He) Does Is Magic Songwriters are always looking for new ways to write about love. Sting grabs me with the struggle he sets up with a man who is so in love, but so afraid to profess his feelings – the juxtaposition of extreme joy and extreme fear and frustration. Russell’s approach was to focus on the lighter side of the story which makes me feel that this man can hope to summon the courage needed to pursue his happiness! I just love singing this one! Though I’ve tried before to tell her Of the feelings I have for her in my heart Every time that I come near her I just lose my nerve As I’ve done from the start Every little thing she does is magic Everything she do just turns me on Even though my life before was tragic Now I know my love for her goes on Do I have to tell the story Of a thousand rainy days since we first met It’s a big enough umbrella But it’s always me that ends up getting wet I resolve to call her up A thousand times a day And ask her if she’ll marry me In some old fashioned way But my silent fears have gripped me Long before I reach the phone Long before my tongue has tripped me Must I always be alone? The title of the album just had to be this song! Not that I am trying to copy Sting or follow in his footsteps, but I wanted to pay him homage in a way, to be very respectful of his work and to follow his integrity to the songs and stories! I also have a personal connection to this story. He talks about how wise the dinosaurs were. ‘Lord of all that you could see, just a little bit like me.’ I, too, suffer from the belief that I know better than others and, at the same time, I am less than everyone. The song reminds me to be humble in the face of every action I undertake! This song is also about how ignorant we are as a people to the wisdom inherent in the past. We have thrown so much away because of this ignorance! The funky rhythm on this arrangement is so fun to sing and really helps me to get the story across. Fifty million years ago You walked upon the planet so, Lord of all that you could see Just a little bit like me, Walking in your footsteps, Walking in your footsteps. Hey Mr. Dinosaur You really couldn’t ask for more You’re God’s favorite creature But you didn’t have a future, Hey mighty Brontosaurus Don’t you have a lesson for us You thought your rule would always last There were no lessons in your past You were built three stories high They say you would not hurt a fly If we explode the atom bomb Would they say that we were dumb. They say the meek shall inherit the earth King Of Pain Another one of my very favorites! Sting paints such vivid pictures with the lyric. I have such admiration for his writing! His lyrics just make sense. They sing themselves which is what a good song should provide a singer. I think one of the big problems with music today is that songs lack substance, no longer have melody and most often no harmony to speak of either. It’s no wonder singers tend to over sing! With nothing to really sink their teeth into, riffing and over singing can be the only way for singers to have a little fun and express themselves. There’s a little black spot on the sun today It’s the same old thing as yesterday There’s a black cat caught in a high tree top There’s a flag pole rag And the wind won’t stop I have stood here before in the pouring rain With the world turning circles Running ’round my brain I guess I’m always hoping That you’ll end this reign But it’s my destiny to be the king of pain There’s a fossil that’s trapped In a high cliff wall There’s a dead salmon frozen in a waterfall There’s a blue whale beached By a springtide’s ebb There’s a butterfly trapped in a spider’s web There’s a king on a throne With his eyes torn out There’s a blind man looking For a shadow of doubt There’s a rich man sleeping on a golden bed There’s a skeleton choking On a crust of bread There’s a red fox torn by a huntsman’s pack There’s a black winged gull With a broken back I’ll always be king of pain… When The World Is Running Down – Interlude I had wanted to record this song in it’s entirety but it just didn’t feel right to me. I tried and tried and finally gave in! But Michael came up with the idea of just recording a taste of the song with a really funky sound as though listeners are hearing it through a very old stereo. I love the way turned out! The message is simple; we should take action if we don’t like what’s going on around us! Synchronicity 1 Russell’s arrangement on this tune really kicked my butt big time! I just love a good challenge and this song gave me that and more! The band is just kickin’ on this track! Sting really made me think about what this thing called synchronicity is, and Russell seems to challenge the lyrical concept with his horn parts and rhythms! Taking a little scat solo on this tune was also great fun! With one breath, with one flow You will know A sleep trance, a dream dance, A shared romance, A connecting principle, Linked to the invisible Almost imperceptible Something inexpressible. Science insusceptible Logic so inflexible Causally connectable Yet nothing is invincible If we share this nightmare Then we can dream Spiritus mundi If you act, as you think, The missing link, We know you, they know me Extrasensory A star fall, a phone call, It joins all, It’s so deep, it’s so wide Your inside Effect without a cause Sub-atomic laws, scientific pause Don’t Stand So Close To Me I had a classmate in High school who was having an affair with this young handsome teacher of ours. Their relationship was supposed to be hush, hush, but of course everybody knew! During that same time period while living with my father for a short time I witnessed him having several affairs with young awe struck students who clung to his every word. He was a writer and professor of German literature at a university and was quite the charmer! He even ended up marrying two of his former students! So I have some connection to this story! Such a relationship can be a natural progression if a young impressionable student is looking for a father or mother figure and a teacher is either extremely insecure and craves to be in control or needs that injection of youth from a young lover! Russell’s treatment of this song brings out the longing such couples have for each other, the conflict, and the passion! The song just sang itself! Young teacher, the subject Of schoolgirl fantasy She wants him so badly Knows what she wants to be Inside her there’s longing This girl’s an open page Book marking – she’s so close now This girl is half his age Don’t stand, don’t stand so Her friends are so jealous You know how bad girls get Sometimes it’s not so easy To be the teacher’s pet Temptation, frustration So bad it makes him cry Wet bus stop, she’s waiting His car is warm and dry Loose talk in the classroom To hurt they try and try Strong words in the staffroom The accusations fly It’s no use, he sees her He starts to shake and cough Just like the old man in That book by Nabakov De do do do, De da da da The idea behind the vocal and percussion treatment on this tune is similar to going to a very fancy restaurant and getting a small taste of sherbet between courses just to cleanse the palate before moving on to the next taste bud adventure! The title is so clever because the whole tune is about the potential power of words. And yet the title is a bunch of non words! I wanted to keep the focus on the irony implied! Luis Conte and I never rehearsed the tune and as a matter of fact, this song was the very last thing we recorded at the end of the three days! I have had a connection with Luis for several years. He is so full of passion and love for music and so open to surprises! I also love singing this tune during live shows! Don’t think me unkind Words are hard to find The only cheques I’ve left unsigned From the banks of chaos in my mind And when their eloquence escapes me Their logic ties me up and rapes me Is all I want to say to you Their innocence will pull me through They’re meaningless and all that’s true Poets, priests and politicians Have words to thank for their positions Words that scream for your submission And no one’s jamming their transmission ‘Cos when their eloquence escapes you Their logic ties you up and rapes you I Burn For You I have always had a dream of recording with live strings and this album was my first opportunity! Russell wrote a masterpiece of an arrangement on this tune. When the string players came to the studio to play on the record, I was so moved. I listened while they played, and I just drank up the sound of the strings and wood resonating in the room! It was amazing! Once again Sting writes a love song creating such beautiful images of trust and passion and the stillness, the serenity that is such a part of true love! This is what I call a big song, and usually with big songs, I tend to over sing so I can be big, too. But this time, I took the opposite approach and just sang the song! Now that I have found you In the coolth of your evening smile The shade of your parasol And your love flows through me Though I drink at your pool You and I are lovers And nighttime falls around our bed In peace we sleep entwined Though an ocean soothes me head Stars will fall from dark skies As ancient rocks are turning Quiet fills the room Though I lie here so still * All lyrics written by Sting One thought on “Walking in Your Footsteps” Dario Sunga on March 7, 2012 at 10:31 am said: I wish Sting reads these. He will be mighty glad you covered his songs. You and Russell took the songs to a higher level.	cc/2022-05/en_middle_0088.json.gz/line85
__label__wiki	0.963705	0.963705	World Series 2001 \| MLB.com To learn about our efforts to improve the accessibility and usability of our website, please visit our Accessibility Information page. Skip to section navigation or Skip to main content Below is an advertisement. MLB.com Voices MLB Pipeline Drug Policy in Baseball World Series 2001 10/16/2001 04:26 AM ET M's drop Indians with Moyer, McLemore and mojo By Carrie Muskat Mark McLemore's two-run single in the second helped lift Seattle into the ALCS Game highlights: 56k \| 300k Ichiro's infield hits: 56k \| 300k SEATTLE -- All the Seattle Mariners needed was Jamie Moyer, Mark McLemore and their mojo. Moyer combined with three other Mariners pitchers on a four-hitter and McLemore backed them with a two-run single to lift Seattle to a 3-1 victory Monday over the Cleveland Indians and clinch the American League Division Series in the deciding Game 5. The Mariners now will have at least four more games to talk about their incredible 116-46 regular-season record. They advance to the American League Championship Series and face the Yankees in a rematch of last year's ALCS. The ALCS, a best-of-seven series, will start Wednesday at SAFECO Field no matter who wins between the Yankees and Athletics. Keep the fleece handy. "I've said all along that [the regular-season record] wouldn't be a burden for us in the postseason," Seattle Manager Lou Piniella said. "The postseason is a completely different situation than the regular season. All the teams that qualify are all capable of winning." It's the Mariners who won Monday. When closer Kazuhiro Sasaki got Juan Gonzalez to ground out to third baseman David Bell and end the game, Mariners players gathered near second base to hug and congratulate each other. If they were jet lagged from the late flight Sunday following Game 4 in Cleveland, it didn't show in their enthusiasm. "We are one step away from our goal, one series away, one tough series away and we know that," Mariners second baseman Bret Boone said. "We started out this season, played well and had one goal on our mind and that was to get to the World Series and win it." The 1998 Yankees won 114 regular-season games and knew they'd be ridiculed if they didn't win the World Series. They did. Now, the pressure is on the Mariners. "It wouldn't look very good if we won 116 games and got knocked out in the first round," said M's reliever Jeff Nelson, who was part of that Yankees team. "Back there [in New York], they want you to win 162 games." Seattle fans will settle for just eight more wins. "We rely on pitching and solid defense. That's constant, almost every day," Piniella said. "And it's a good formula." This was the third Division Series to go the distance this year, joining the Yankees-Athletics and the St. Louis-Arizona series. Since 1995, the Division Series had been played to the max four times, all in the American League. The Mariners now have advanced twice to the ALCS in their last four postseason appearances, although last year's three-game sweep against the Chicago White Sox was a lot easier. The Indians put up a good fight. "We took them to five games, the best team in baseball," Cleveland starter Chuck Finley said. "They were just a little bit better than us." The Seattle weather cooperated and the 47,867 at SAFECO, the largest crowd ever at the new ballpark, didn't need the roof, just some hot chocolate to ward off the chill when they weren't cheering. It was postseason payback time for the Mariners, who lost to the Indians in six games in the 1995 ALCS. Seattle, which won an American League record 116 games, tying the 1906 Chicago Cubs for best regular season mark, still has a chance to do what the Tinker-to-Evers-to-Chance team couldn't: Win a World Series. The Indians, who reclaimed the Central Division title for the sixth time in the last seven seasons, can only board their charter for the long flight back home. Cleveland Manager Charlie Manuel had hoped to postpone his gall bladder surgery a little longer, like mid-November. Sorry, Charlie. Moyer (2-0) continued his trend of keeping the Indians off balance, throwing anywhere from 75 to 85 in any situation. Paint dries faster than Moyer's pitches. "It just shows you don't have to throw hard to put up a good game," Nelson said. Moyer struck out the heart of the Cleveland lineup -- Juan Gonzalez, Ellis Burks and Jim Thome -- in the fourth, all on called third strikes, saying he got a "second wind." And the Indians couldn't blame any sharp shadows because it was overcast as a light cloud cover moved in. "He threw a few more fastballs and nibbled on the corners and got some calls from the corner to away," Thome said of Moyer. "He was smart enough to stay out there." Manuel kept up a constant banter from the dugout with home plate umpire Mark Hirschbeck, apparently perturbed by some of the calls Moyer was getting. All the talk didn't faze the 20-game winner, who gave up one run on three hits and one walk over six innings, striking out six of the last nine batters he faced. "Cleveland has some really good fastball hitters and unless you can throw the ball up there 93, 94, 95 miles an hour, you're going to have problems," Piniella said. "Good fastball hitters are a little more susceptible to the off-speed stuff. And Jamie exploited that exceptionally well." Nelson replaced Moyer in the seventh and struck out four of the six batters he encountered. Arthur Rhodes got the final out of the eighth and Sasaki pitched the ninth for his first save. "Seattle has a great ballclub," Manuel said. "They won 116 games. And the last two days, especially, I felt like their pitching really shut us down. And we've got a pretty good offense." Seattle's Ichiro Suzuki went 3-for-4, including two infield hits, to finish batting .600 (12-for-20) in the series. There is no MVP awarded in the Division Series but if there was, the Japanese right fielder should get it. His 12 hits matched Edgar Martinez's club record for most in one series, set in the 1995 ALDS against New York. Speaking of Martinez, he added an insurance RBI single in the seventh. The "Ancient Mariner" collected five RBIs in the series and now has 20 in his career ALDS games. New York's Bernie Williams entered Monday's game with 18 career ALDS RBIs. Cleveland starter Chuck Finley (0-2) kept his adrenaline in check, which contributed to his problems in Game 2 when he served up a pair of two-run homers in the first inning. The Indians lefty exited after loading the bases with one out in the fifth but David Riske struck out Boone -- the 10th time he's whiffed in the series -- and got Martinez to ground out to Roberto Alomar at second and end the inning. "I thought when Riske stopped them that one inning that we'd win the game," Manuel said. But they didn't. Finley fell to 0-2 in five career playoff appearances, giving up two runs on four hits and four walks over 4 1/3 innings while striking out seven. The veteran left-hander walked Martinez and John Olerud to start the Mariners second -- Finley wasn't happy with some of the calls during the latter at-bat -- and then hit Mike Cameron to load the bases. Finley regrouped and struck out both Dan Wilson and David Bell, with Bell looking at a called third strike, before McLemore smacked the first pitch to left for a single. Marty Cordova dove for the ball but umpire Kerwin Danley signaled a hit and Martinez and Olerud both scored. During Ichiro's at-bat, McLemore broke for second and Finley threw to first baseman Jim Thome. Cameron tried to scamper home on the play and was thrown out at home on the caught stealing, 1-3-6-2, to end the inning. Travis Fryman doubled to lead off the Indians third, advanced on Cordova's fly ball out and, after Einar Diaz coaxed a walk, scored on Kenny Lofton's single to center to make it 2-1. The Indians bullpen did keep the game close. Seattle stranded three in the fifth and two in the sixth. But Danys Baez cracked in the M's seventh, serving up a RBI single to Martinez. The Mariners, who faced almost no pressure during their romp to the AL West title, survived two elimination games in the ALDS. "I think it shows a little more about what we're made of," Moyer said. "We probaby didn't go through spells where we had to win a game at any certain time. The last two games have been win or go home." And the Mariners were able to do both. Carrie Muskat is a regional writer for MLB.com based in Chicago. Mariners 3, Indians 1 SAFECO Field Indians 0 0 1 0 0 0 0 0 0 1 4 0 Mariners 0 2 0 0 0 0 1 0 x 3 9 1 Kenny Lofton - CF 4 0 1 1 1 0 1 .105 .263 Omar Vizquel - SS 4 0 1 0 1 0 1 .409 .545 Roberto Alomar - 2B 4 0 0 0 0 0 1 .190 .333 Juan Gonzalez - RF 4 0 0 0 0 0 2 .348 .739 Ellis Burks - DH 3 0 0 0 0 0 2 .316 .526 Jim Thome - 1B 3 0 0 0 0 0 1 .158 .316 Travis Fryman - 3B 3 1 1 0 2 0 1 .176 .235 Marty Cordova - LF 3 0 0 0 0 0 2 .250 .250 Einar Diaz - C 2 0 1 0 1 1 0 .312 .312 Totals 30 1 4 1 5 1 11 - - Batting: 2B - Fryman (1, Moyer). RBI - Lofton (3). GIDP - Alomar 2. Team LOB - 3. Ichiro Suzuki - RF 4 1 3 0 3 0 0 .600 .650 Stan Javier - LF 1 0 0 0 0 1 1 .250 .375 Bret Boone - 2B 4 0 0 0 0 0 3 .095 .095 Edgar Martinez - DH 2 1 1 1 1 2 0 .312 .750 Al Martin - PR-DH 0 0 0 0 0 0 0 .000 .000 John Olerud - 1B 3 1 1 0 1 1 1 .176 .176 Mike Cameron - CF 3 0 0 0 0 0 1 .222 .556 Dan Wilson - C 4 0 1 0 1 0 2 .200 .267 David Bell - 3B 4 0 1 0 1 0 3 .312 .562 Mark McLemore - SS 4 0 2 2 2 0 2 .167 .167 S - Javier 2. RBI - McLemore 2 (3), E Martinez (5). 2-out RBI - McLemore 2, E Martinez. Runners left in scoring position, 2 out - E Martinez 2, McLemore 2, Cameron 1. Baserunning: CS - Suzuki (2, 3rd base by Finley/Diaz); Cameron (1, home by Finley). E - Mclemore (1, throw). DP: 2 (Mclemore-Boone-Olerud, Bell-Boone-Olerud). B-S Chuck Finley (L, 0-2) 4.1 4 2 2 4 7 90 42-48 20 7.27 David Riske 1.1 2 0 0 0 1 21 5-16 6 0.00 Ricardo Rincon 0.2 1 1 1 0 1 11 5-6 3 9.00 Danys Baez 1.2 2 0 0 0 4 30 10-20 7 2.45 WP - Finley, Rincon. HBP - Cameron (by Finley). Ground balls-fly balls: Finley 3-1; Riske 1-2; Rincon 1-0; Baez 0-1. Jamie Moyer (W, 2-0) 6 3 1 1 1 6 86 35-51 21 1.50 Jeff Nelson (H, 2) 1.2 1 0 0 0 4 32 12-20 6 0.00 Arthur Rhodes (H, 2) 0.1 0 0 0 0 0 5 2-3 1 0.00 Kazuhiro Sasaki (S, 1) 1 0 0 0 0 1 10 1-9 3 0.00 Ground balls-fly balls: Moyer 9-3; Nelson 1-0; Rhodes 0-1; Sasaki 2-0. Umpires: HP--Mark Hirschbeck. 1B--Ron Kulpa. 2B--Steve Rippley. 3B--Ted Barrett. LF--Kerwin Danley. RF--Jerry Layne. Time:3:18 Weather: 54 degrees, partly cloudy. Wind: 7 mph, left to right. BOX SCORE COURTESY OF SPORTSTICKER ENTERPRISES, L.P. ALL RIGHTS RESERVED	cc/2022-05/en_middle_0088.json.gz/line86
__label__wiki	0.647024	0.647024	Berkleefest Student Bands Berkleefest: Student bands play two free music fests at Vt. resort By Lauren Daley \| GLOBE CORRESPONDENT JULY 19, 2014 Berkleefest at Topnotch Resort NANCY WOLF STEAD Will Gittens and his band played last fall at Topnotch in Stowe. STOWE, Vt. — The good news: Tom Petty and the Heartbreakers are playing Fenway Park in August. The bad news: Center stage tickets on the field are going for $808.25 a pop on StubHub. One of the best parts of summer is getting your groove on under the open sky — but if the high prices of summer concerts are getting you down, you might want to check out Berkleefest, a free event at Topnotch Resort & Spa in Stowe. Eight young indie acts — all of them made up of students at Berklee College of Music — will play two outdoor concerts at Topnotch, a year-round resort tucked into the lush hills of the Green Mountain State. Four bands will play Berkleefest on July 26, and another four will play Aug. 30. Both concerts are from 2-6 p.m., free, and held rain or shine. With the green you save on concert tickets, you can make a getaway for yourself. Berklee alumni have collectively won more than 270 Grammys and Latin Grammys, so you could be seeing your future “saw them when.” Both fests will be held on a swath of open green with the backdrop of majestic Mount Mansfield. You can grab a craft beer at the beer garden, or head to the resort chef’s grill station for a black bean veggie burger, hot dog with street-cart onions, pulled maple BBQ chicken, or an Angus beef burger with locally-grown lettuce, tomato, and onion, and option of Vermont cheddar cheese. “We wanted to bring a little Boston to Vermont and a little Vermont to Boston,” said Stephanie Mehail, general manager at Topnotch. The AAA-certified four-diamond luxury property sprawls across 120 acres, and includes two new restaurants, equestrian stables, tennis courts, spa, and indoor and outdoor pools. “The view here is unbelievable. You’re overlooking the mountains,” said Mehail. “You don’t have to stay with us, but we’ll welcome you with open arms. We’re just thrilled to have lot of fun and do some charity.” Berkleefest is a concert for a cause — a few causes, actually. Each band has selected a charity for which to play. Fans can vote on Facebook for their favorite band — or charity — and Topnotch will donate $1,000 to that cause. Topnotch will also send two Vermont high school students to Berklee’s acclaimed summer music camp in Boston next year. And Berklee alums will visit a few Vermont high schools in the fall to promote music education, event organizers said. Berkleefest Topnotch Resort Mt. Mansfield KATHLEEN LANDWEHRLE The resort’s Mansfield Overlook Lawn (beyond the tables) is where the bands will play the summer Berkleefest events. Berkleefest organizers see the concerts as a “two-way flow of arts between Vermont and Boston,” said Jordan Hollander, a creator of the event and business development officer at MetWest Ventures, which owns Topnotch. The July 26 lineup is The Frotations, a rootsy R&B band; Nikolas Metaxas, a Cypriot singer-songwriter who placed second in the first season of the Greek version of “The X Factor”; experimental folk vocalist Arielle Vakni; and Damn Tall Buildings, a rollicking bluegrass band. The Aug. 30 lineup is Will Gittens, an R&B artist from Trinidad and Tobago; Great Caesar, a chamber rock band; five-piece folk band Grey Season; and singer-songwriter Bigfoot Wallace. “The grounds look absolutely beautiful. Vermont is gorgeous, and the whole charity aspect is really cool,” said Max Capistran, 21, a Berklee songwriting major and lead vocalist for Damn Tall Buildings. The band, which often plays on Newbury Street and in the subway near Hynes Veterans Memorial Convention Center, will play for Horizons for Homeless Children. “We’ve met so many homeless people who come hang with us while we’re playing,” Capistran said. Michael Borgida, marketing manager at Berklee, said the fest “is a great way to help Vermont music education, and a great opportunity for our students to perform live. Hopefully this will become an annual festival.” For more information on the bands or events, to book a room at Topnotch, or to download free tickets, visitwww.berkleefest.com. Lauren Daley can be reached at ldaley33@gmail.com. About Topnotch Resort Totally reimagined in 2013, Topntoch is a year-round destination located at the foot of Mount Mansfield in the quintessential New England village of Stowe, Topnotch Resort. Re-opened in 2013 following an extensive renovation, the iconic property which is an AAA 4-diamond and Preferred Boutique Resort, offers an authentic Vermont experience with an updated look. A new arrival experience, lobby, guestrooms, meeting and event space and outdoor venue, a new restaurant and bar and a reconceived restaurant (formerly known as Norma’s) are the latest additions to the storied retreat in the Green Mountains. Set on 120 acres with 68 guestrooms and a variety of Resort Homes, Topnotch Resort offers endless recreational pursuits in a comfortable and luxurious atmosphere. The 35,000 square foot Spa at Topnotch features over 120 treatments in 30 treatment rooms, and the Tennis Center features 4 indoor and 6 outdoor courts for year-round play. Other amenities and activities include cross-country and downhill ski rentals, bike rentals, horseback riding, a state-of-the-art Fitness Center, an indoor pool with a cascading massage waterfall, a whirlpool/Jacuzzi, and two outdoor pools with mountain-views – one of which is heated year-round. The property is pet-friendly, a part of the MetWest Terra Hospitality collection of boutique hotels, and also designated as a Preferred Family and a Preferred Pride hotel. www.topnotchresort.com About MetWest Terra MetWest Terra Hospitality is comprised of a diverse group of capital managers, real estate professionals, and lifetime hotel operators. The team is led by Chairman Richard S. Hollander who calls on nearly three decades of the successful founding and management of institutional investment strategies, which combined for total assets under management of $80.0 billion. MetWest Terra Hospitality operates Topnotch Resort in Stowe, The Inn at Jackson Hole in Jackson Hole, Hotel Abri in San Francisco, Casa Madrona Hotel & Spa in Sausalito, The Lodge at Tiburon in Tiburon, and Toll House Hotel in Los Gatos. For more information please visit MetWestTerra.com http://www.bostonglobe.com/lifestyle/travel/2014/07/19/berkleefest-student-bands-play-two-free-music-fests-resort/GH7DpmdrC5c6Ebkft25beP/story.html	cc/2022-05/en_middle_0088.json.gz/line93
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__label__cc	0.666544	0.333456	PIML Why PIML Education & Immigration Consultants Visa Search Australia Study Visa Canada Study Visa USA Study Visa UK Study Visa Europe Study Visa Dependant / Spouse Visa Tourist / Visitor Visa HomePTE Are you looking for Best PTE Coaching? The PTE is one of the most accepted English proficiency tests. The test is used by embassies and employers in their candidate assessment processes. It is the world’s leading computer-based test of English for candidates wanting to study or immigrate abroad. The PTE score is accepted by various academic institutes worldwide including Harvard Business School, INSEAD and Yale University. A good PTE score can greatly improve your chances of success. PTE – Pearson Test of English The Pearson Test of English (PTE) is an English language test on similar lines as the IELTS and the TOEFL. This computer-based exam focuses on day to day usage of the English Language as opposed to high-level English. It tests a candidate on the effective understanding of the English language on a day to day basis. The grading system used in PTE ensures a better level of understanding of the candidate’s proficiency in the English language. Since the PTE is a computer-based test the results are usually given within 5 business days from the test date. Some candidates receive the score within 3 days and some even within a day. Why The Pearson Test of English (Academic)? The Pearson Test of English (Academic) is trusted across the globe by various Governments, Universities, and Educational Institutes. How many Modules are there in PTE? Reasons why most people opt for the PTE Flexible: Test dates are available almost for over 360 days in a year in over 250 centers worldwide Fast: Results are declared typically within 5 working days Fair: Since the test uses computerized marking, it ensures that all test takers are scored accurately and impartially Secure: Various measures are taken to ensure test security like randomized test forms, palm-vein scanning and data forensics Unlimited: Test takers can send their test results to as many Universities or Institutions as they like with no extra payment How is the PTE scored? The scoring in PTE is done from 10 to 90 with 10 being the lowest and 90 being the highest. Increments happen by 1 point. The grading scale showcases the test taker’s ability to read, write, speak and understand instructions given in English. The scores are also provided in a graph for easy understanding of the candidate as well as the areas of improvement. WHERE CAN IT BE USED? The PTE (Academic) can be used for both immigration and study overseas. The governments of Australia and New Zealand accept PTE (Academic) test scores for immigration. Various Universities across Australia, New Zealand, and Europe also accept PTE (Academic) test scores. © 2021 — PIML Education & Immigration Consultants. All Rights Reserved.	cc/2022-05/en_middle_0088.json.gz/line95
__label__cc	0.663983	0.336017	Joe McGrath Lance Hurdle NFL U Weekly Stats proCane Play of the Week Devin Hester Sits Out Practice Oct/20/11 08:24 AM Filed in: Devin Hester Devin Hester brushed off being named the NFC's special teams player of the week for the second time in three weeks. He's more concerned about getting on the field Sunday against the Buccaneers in London. Hester sat out Wednesday's practice as he continues to recover from a chest injury. He said he was "hurting'' after getting banged up in the 39-10 victory over the Vikings. Hester had a 98-yard kickoff return for a touchdown Sunday night but the Bucs might pose a much stiffer challenge. "(The Bucs are) just physical on special teams,'' Hester said. "But there are some things we feel we can hurt them with.'' The Bucs rank second in the league in opponents field position after kickoff (18.8-yard line) thanks to the kicking of Michael Koenen. And since 2002, the Bucs have surrendered just four kick return touchdowns, tied for third-best in the league. "I was hoping the Bears would leave (Hester) at home and not bring him to London," Bucs coach Raheem Morris joked. "If he shows up, hopefully we still won't see him. Hopefully, we can keep him somewhat out of the game." Click here to order Devin Hester’s proCane Rookie Card. (chicagotribune.com)	cc/2022-05/en_middle_0088.json.gz/line96
__label__wiki	0.946185	0.946185	Dulquer Salmaan’s Kurup teaser release date announced Dulquer Salmaan has announced that the teaser of his highly anticipated film ‘Kurup’ will be out on March 26. A new poster featuring the star in a stylish suited getup has also been shared. Touted to be the biggest film of his career, ‘Kurup’ has had massive hype right from the time of its announcement. Srinath Rajendran of ‘Second Show’ and ‘Koothara’ fame is directing the film. It is based on India’s most wanted fugitive, Sukumara Kurup. Jithin K Jose has written the story and screenplay is penned jointly by KS Aravind and Daniel Sayooj Nair. While Dulquer plays Kurup’s role, Indrajith Sukumaran essays the part of the investigating police officer. Tovino Thomas, Sunny Wayne, Sobhita Dhulipala, Shine Tom Chacko, Vijayaraghavan, Surabhi Lekshmi and many others are part of the star-studded cast. On the technical front, cinematographer Nimish Ravi, music director Sushin Shyam, production designer Vinesh Bangalan and editor Vivek Harshan form the core team. Dulquer Salmaan’s Kurup teaser release date poster Dulquer’s own banner Wayfarer Films is producing the film along with M Star Entertainment. The makers have already confirmed that the film will be getting a theatrical release in multiple languages – Malayalam, Tamil, Telugu, Hindi and Kanda. Related Items:dulquer salmaan, Kurup Dulquer Salmaan tests positive for Covid-19 First single from Hey Sinamika on its way! Dulquer Salmaan’s Salute release postponed Official: Fahadh Faasil plays the villain in Allu Arjun’s Pushpa Mohanlal and AR Rahman shoot together for Aarattu	cc/2022-05/en_middle_0088.json.gz/line97
__label__cc	0.701806	0.298194	Dr Antonio Calderon Dr Tim Fletcher Prof Michael Gard Dr João Costa Dr Jaimie McMullen Dr. Eimear Enright Research Clusters Active Schools, Active Communities Facilitating Learning through Teaching and Coaching PhD Studentship at DCU 2016 PhD Studentship at UL Programme Outline Abstract Information Travel and Accommodation Forum 2015 Photos Keynote Presentations Programme for the Day Some Photos from Tralee Keynote Resonses Research session at the Forum Programme Outline 2018 Understand the conditions that enhance children and youth's capacities for participation in a physically active lifestyle Pursue collaborative multi-disciplinary approaches to research on children's engagement in a physically active lifestyle Develop exemplary models of teacher education and professional development in physical education Develop exemplary models of coaching education and professional development in youth sport Keynote address at PEPAYS Ireland Research Forum 2017 "Wholism, the physical body and wellbeing education" Dr. Maeve O'Brien (Head of the School of Development at the Institute of Education, St Patrick's Campus, Dublin City University) and Dr. Andrew O’Shea (Co-ordinator of Human Development, Philosophy, Institute of Education, Dublin City University) Thursday 15th June 2017 7.30pm to 8.30pm Venue: Lecture Theatre, Department of Physical Education and Sport Sciences, University of Limerick Much of the policy in education today tends to fragment an already overburdened curriculum and to pull away from the value of wholism, as something that is both comprehensive and integrative in terms of pedagogy and the broad aims of education. Wellbeing has emerged as a discourse in education that promises to meet some of these current challenges and to bring together new thinking about development that addresses students as subjects who engage with subjects in a learning environment. However, fragmentation of the curriculum parallels the fragmentation of the person and how he or she has been understood in relation to the valuing and prioritizing of some forms of learning over others. In this way the bodies of individuals and the ‘student body’ have been often at odds. This presentation explores some of the challenges for Physical Education today as a subject, that while often marginalised within schooling and sometimes narrowly understood, has real potential to facilitate broad and deep learning. Through its work with the physical body as a medium for development and on its own terms, Physical Education has real potential in supporting the wellbeing of students. In taking stock of some of the historical and policy problems around wholism, we set the scene for a dialogue about wellbeing and the body as a necessary part of relational experience and development. Drawing on our own wellbeing research in the context of the award winning film Monsieur Lazhar, we explore the issue of ‘no touch’ as something that concerns the basic ingredients of healthy relationship. How through a focus on the significance of the body and its vulnerabilities can we better integrate the subject of Physical Education within a wholistic understanding of development. Tweets by @PEPAYS_Ireland PEPAYS Ireland 2018 Forum rescheduled date The PEPAYS Ireland 2018 Forum has now been rescheduled for Saturday 24th November, 9am - 4pm. The programme for the day is the same as the last scheduled day. Those... Announcement regarding PEPAYS Ireland Forum 2018 We have lost a friend and a valued colleague in Ann Marie Murphy (nee Ralph). In respect of her recent passing, we have chosen to honour her by postponing the PEPAYS Ireland 2018 Forum... PEPAYS Ireland Forum 2018 ‘Enacting and researching Irish school physical education’ Saturday 8 September 2018, Department of Physical Education and Sport Sciences, University of Limerick Time slot 9.20am - Introduction to the day 9.30am - 10.25... We are looking to invite anyone who is currently undertaking research in the area of primary physical education, junior cycle PE, SCPE and LCPE to contact This email address is... Call for abstracts 2018 CALL FOR ABSTRACTS Enacting and researching Irish school physical education Saturday 8th September 2018 Important Dates 10th August 2018: Deadline for poster and oral presentation abstracts 14th August 2018: Notice of acceptance of abstracts... Registration for Forum 2018 Registration is now open at the following link: https://www.eventbrite.ie/e/pepays-ireland-forum-2018-tickets-47552315255?aff=ebdssbdestsearch (https://www.eventbrite.ie/e/pepays-ireland-forum-2018-tickets-47552315255?aff=ebdssbdestsearch) Being and Becoming an Academicin the Neoliberal UniversityDr Eimear EnrightUniversity of Queensland, Australia Abstract: As early career academics (ECAs) functioning in and critical of a market-driven system of higher education, Enright... Dr. Jaimie McMullen PEPAYS Ireland was delighted to host Dr. Jaimie M. McMullen (above), University of Northern Colorado, recently as part of the Guest Lecture Series. The title of Jaimie's presentation was: International Best... Keynote Responses Keynote Responses The keynote address for the PEPAYS Ireland Forum 2017, "Wholism, the physical body and wellbeing education" was delivered by Dr. Maeve O'Brien (Head of the School of Development at the Institute... Keynote address at PEPAYS Ireland Research Forum 2017 "Wholism, the physical body and wellbeing education" Dr. Maeve O'Brien (Head of the School of Development at the Institute of Education, St Patrick's Campus,... Updated Programme An updated version of the PEPAYS Ireland Forum 2017 is available at the following link: http://pepaysireland.com/forum/forum-2017/programme.html (http://pepaysireland.com/forum/forum-2017/programme.html) Please remember to pre-resgiter online before next Tuesday 5pm to assist with catering numbers. REGISTRATION - NOW OPEN! Registration is now open for the PEPAYS Ireland Forum 2017. A preliminary programme for the event is outlined below and you can register at the following link. https://www.eventbrite.ie/e/pepays-ireland-forum-2017-tickets-34423439434 (https://www.eventbrite.ie/e/pepays-ireland-forum-2017-tickets-34423439434) PLEASE NOTE: FOR CATERING... PEPAYS Ireland Forum 2017 - Update PEPAYS Ireland Forum 2017 update We are delighted to confirm the speakers for the following sessions at this year’s PEPAYS Ireland Forum 2017; PEPAYS Ireland Keynote address 'Wellbeing and Embodied Identity' at... CALL FOR ABSTRACTS PEPAYS Ireland Forum 2017 CALL FOR ABSTRACTS Health and Well-Being: A PEPAYS Ireland Agenda? 15th – 16th June, 2017 Important Dates 18th May 2017: Deadline for poster, oral, and symposia abstracts 24th May 2017: Notice of acceptance of... PEPAYS Ireland is seeking a new Co-Director The Physical Education, Physical Activity and Youth Sport (PEPAYS) Ireland Research Centre is seeking a new Co-Director The mission of PEPAYS Ireland is use high quality, multi-disciplinary and multi-entity research to... Guest Lecture Announcement - Dr Joao Costa PEPAYS Ireland is delighted to announce the next speaker in our Guest Lecture Series, Dr. João Costa, Universidade Lusófona, Portugal. The presentation will take on Wednesday 1st February at 12pm... IPPEA Conference 2017 This years the Irish Primary PE Association (IPPEA) conference will take place in Croke Park on the 11th of March. The theme of this years conference is "Time to change the game? Re-imagining primary... Guest Lecture Announcement - Dr. Mary L. Henninger and Dr. Karen P. Richardson PEPAYS Ireland is delighted to announce the following presentation which will take place on Wednesday 8th February at 4pm in UL (P1007) as part of the Guest Lecture Series Title: Tactical decision making... Upskilling modules at IT Tralee The IT Tralee will run a series of up-skilling modules in Tralee over the coming months. These subjects are all based around the seven strands of the Physical Education and... Temporary Research Assistant Mary Immaculate College in Limerick are looking for a Temporary Research Assistant to work on a research project on Sedentary Behaviour Questionnaire (SBQ) – reliability validity study. Further information and... Gender, Physical Education and Active Lifestyles A call for papers has been announced for the Gender, Physical Education and Active Lifestyles: Researching Young People's Experience Conference at Leeds Beckett University. The conference will take place on... Newsletter 5, December 2016 We are delighted to bring the latest edition of the PEPAYS Ireland newsletter. Thanks to everyone for their contributions. Click here (images/Newsletter5.pdf) to read it. PhD and Post Doctoral Opportunities at UL The Department of Physical Education and Sport Sciences at UL is delighted to offer the following positions. PhD Studentship Physical Activity and Health: Healthy Ireland Demonstration Project Further details can be found here.... Call for Applications for the role of Assistant to AIESEP Board of Directors The Board of Directors of AIESEP is currently seeking applications for the role of Assistant to the Board of Directors. Key tasks will include: Administering the AIESEP website Updating members’ list every two... PhD Scholarship at DCU Applications are invited for Ph.D scholarship of the newly launched Moving Well-Being Well Project. More details can be found here. (images/MovingWellDCU.pdf) Job Advertisement - Assistant Professor PEPAYS Ireland is happy to advertise to our readers a Job Advertisement for Assistant Professor at the University of Bern, Switzerland. Further details can be found here. (images/BernAssistantProfessor.pdf) Seminar on Publicly available datasets in Ireland On Wednesday 4th May 2016 the ‘Active Schools, Active Communities’ research cluster held a very successful seminar on publicly available datasets in Ireland. Chaired by Elaine Murtagh (MIC) and Sarahjane... FORUM 2016 in Tralee Just setting the scene for the annual PEPAYS Ireland Forum 2016. Our good friends in IT Tralee, who will be hosting the event on Monday 30th May, have created this... Seminar: ‘Rich tasks’ as a framework for innovative assessment in teacher education NATIONAL FORUM FOR THE ENHANCEMENT OF TEACHING AND LEARNING IN HIGHER EDUCATION Seminar title: ‘Rich tasks’ as a framework for innovative assessment in teacher education Date: 9 May 2016 (9.30am to 4pm... PEPAYS Ireland Guest Lecture Series - Prof Cedric Roure PEPAYS Ireland is delighted to announce the next presenter, Professor Cedric Roure, in the Guest Lecture Series which will take place on Wednesday 11th May at UL in room P1007... 2016 PhD Scholarships at UL Physical Education and Sport Sciences (PESS) Postgraduate Scholarship Scheme(Scholarship to begin September 2016) RationaleThe purpose of the PESS Postgraduate Scholarship Scheme is to support full time PhD students. There will be a... 2016 Internships at UL INTERNSHIPSDepartment of Physical Education and Sport SciencesUniversity of LimerickJune 2016 to May 2017 The PESS Internship is an opportunity for individuals to spend up to eight weeks in PESS gaining experience in... AS-AC Seminar: Publicly available datasets in Ireland PEPAYS IRELAND AS-AC Seminar: Publicly available datasets in Ireland Wednesday 4th May 2016, Dublin City University Room X101 (1st floor of the X building on the Glasnevin Campus) PEPAYS Ireland is delighted to announce... Dr Antonio Calderón We had a really enjoyable presentation from Dr Antonio Calderón, Catholic University of Murcia, (Spain) http://international.ucam.edu/ (http://international.ucam.edu/) on Wednesday. The presentation entitle "The use of social media and digital technologies for engagement and... Guest Lecture Announcement - Dr Antonio Calderon As part of PEPAYS Ireland guest lecture series, we are delighted to welcome Dr Antonio Calderon, UCAM Catholic University of Murcia (Spain) to the University of Limerick to deliver a presentation on THE... National PA Plan Launched The launch of the Healthy Ireland National Physical Activity plan took place in Dublin yesterday. The plan can be accessed using the following link: http://health.gov.ie/wp-content/uploads/2016/01/Get-Ireland-Active-the-National-Physical-Activity-Plan.pdf (http://health.gov.ie/wp-content/uploads/2016/01/Get-Ireland-Active-the-National-Physical-Activity-Plan.pdf) UNESCO Sport Charter NEW UNESCO International Charter for Physical Education, Physical Activity and Sport. In twelve brief articles, the revised Charter serves as a universal reference on the ethical and quality standards of... Unique Professional Development Opportunity Unique Professional Development Opportunity WHAT: PESS Professional Masters students’ workshops on: Curriculum Models in Physical Education Models include: Sport Education, Teaching Games for Understanding, Teaching Personal and Social Responsibility, Adventure Education, Health and... Let's Talk Series PEPAYS Ireland Let’s Talk Series: Promoting physical activity and health through physical education: 25 years of lessons learned PEPAYS Ireland is pleased to announce another session in the series of “Let’s... Healthy Ireland survey Healthy Ireland was launched in 2013 with the aim of providing a framework for action to improve the health and well-being of the people of Ireland. Yesterday the Minister for... To use high-quality, multi-disciplinary and multi-entity research to shape, influence and inform policy and practice relating to advancing the health and well-being of populations in the areas of physical education, sport, physical activity and health. Stay Connected on: Subscribe to our newsletter get the latest news services and stuff.. Copyright © 2015 PEPAYS Ireland All Rights Reserved. Website Design by Ireland Website Design	cc/2022-05/en_middle_0088.json.gz/line99
__label__wiki	0.898004	0.898004	Instant Play Guitar Express Review The Holy Paladin Song World Of Warcraft Bob Fass – Producer bellyband medical – with China the first splint As a pioneer in radio form free, Fass air a variety of different characteristics of each night. Other notable guests include investigative journalist Mae Brussell, Abbie Hoffman comments on the Chicago Seven trial, a planning conference for the Central Park Be-In, and the first appearance by Phoebe Snow Radio. Response to the fair Manufacturer Neil, legislative director of the ACLU in New York in 1960, said Fass was a midwife the birth of the culture-cons. Ralph Engleman, in his book, Public Radio and Television USA: a political history, Fass cited as the "father of free radio. " It also plays an important role in the book of Mark Fisher, something in the air, on the impact of radio in the years after television. Washington Post columnist, describes how angry and will not take it anymore! scene in the movie, Red, has emerged from a real incident when WOR Jean Shepherd urged his listeners to open their windows, stick their heads and scream! Xcelsior " then he wrote: hepherd rendered invisible and let the audience see each other, but Bob Fass, who understands that the next level, giving social and means policies. Fass has really opened the door and drew the audience into the action. He used the media to build a very real movement. Bob Fass c.1966. (Photo: July Lester) Bob Fass was born June 29, 1933 and raised in Brooklyn, New York. Fass received a scholarship to study drama with Sandy Meisner and Sydney Pollack at the Neighborhood Playhouse and was a member of the Stella Adler studio. He appeared on the scene of Brendan Behan The hostage Circle Plaza in education, real estate Slovic Dustin Hoffman, and The Man with the Golden Arm at Cherry Lane, among other New York productions. When he entered in the army in 1956, started the theater at Fort Bragg, North Carolina. In 1960, he assumed the role of director in the Broadway production the legendary Threepenny Opera with Lotte Lenya. Over the next two years, has played a variety of roles in the series, also as assistant stage. In 1963 he began working at WBAI, one of the first listener sponsored by the nation, non-commercial stations operated by Pacifica Foundation. Novelist and poet Richard Elman, a friend from high school Fass, who has been producing programs for the theater season and Literature Department Foss contributed to finding a job as an advertiser. Then it struck midnight until dawn block of time to use at will. Jay Arena, radio waves Unnamable, and had written the same benefits as any other broadcaster — two turntables, a microphone, a stack of records, perhaps a guest in the studio, a friend on the phone … (But) the radio, he created yet transcended the common property. Radio Unspeakable Bob Fass Radio Spins unmentionable (Photo by Carlos Rotmil) The Unnamable by Samuel Beckett, Fass was reading at the time, gave the show its title. His signature cards, you morning, cabal, came from a listener. Log want online, as William B. Williams you in the morning the world Fass said. no person has sent a postcard that offers you the morning, cabal. I looked in the dictionary and discovered that the word Kabbalah comes from Orse. Initially, people gathered on horseback through the night with his identity hidden, even from each plot Othero or plan something subversive. And I thought is: you cabal morning. Fass has its training in quality to the radio through your voice. Filmmaker Susan remembers listening to Bob Lazaro show as a teenager. She fell asleep and awoke a few hours after listening to Tom Rush singing a beautiful song Live in the study of BAI. Called Urge for Going, a Canadian composer named new Joni Mitchell (who was also the piano and singing at Radio Unnamable). Lazarus remembers the feeling of discovering something Fass at the time of transmission. t was like magic. Nowhere Jay Arena writing may hear a DJ for two discs simultaneously, or vice versa or the same song over and over and over time, simply because he liked his message. Nowhere in the years 60 could hear callers and hosts both criticize Lyndon B. Johnson escalated the Vietnam war, encouraging men to burn their draft cards, let alone shine in terms of their drug experiences. Unspeakable Radio was a radio cons before anyone uses the term to U.S. abandoned youth. Bob Fass was a hippie before there were hippies. From the first days of Radio Unnamable Fass has experimented with sound, inspired the art of the audio heard by John Cage and Bill Butler. Collaboration with Gerd Stern and Michael Callahan media collective USCO, which had produced the sound fields to Timothy Leary shows Fillmore East, then dipped and began creating dense mixtures in air. In the heat of the moment would Fass layer four or five sound sources, an instruction register by writing a Hopi ceremony India against war songcannons firing from a longer text. He was weaving and springs, make the strongest and sweetest, the introduction of new voices and noises that he wanted to make a comment the State of the Union, or simply create a mood. When everything came together in a moment of perfect timing, the effect was fascinating. Viewing the production of these mixtures in the wings of time has been as fun as listening to them in the air. brainstorming Fass receive only a few seconds before a court to be exhausted and fall into the nightclub looking for the perfect transition. e-existed in a somewhat plain different than the rest of us, Steve Post recalled in her memoirs of life on WBAI, Playing in the FM band. and was more spontaneous. Everyone the copy, but it was the best. Fass always pressure to expand the boundaries of radio communication. In the midst of 70 years asked the engineer and the station chief resident technical guru, Mike EDL, if there was a way to mount a device that allowed up to ten calls in the air at the same time. The integrated Edl has become a centerpiece of the show Fass, allowing more of their listeners to connect to it, and others. Fass rarely precipitated by telephone calls. Community organizers know that you can always Fass airtime to spread the word of the current crisis and future events. Is this a continuous outlet for anonymous, not spun, ignored and unknown. At least one flame detector suicide for advice in the air. A long list of musicians have appeared on Radio Unnamable, as Townes Van Zandt David Peel, Richie Marinas, Jose Feliciano, Patti Smith and Phil Ochs (parodying Positively 4th Street, a half-comic contest semblance of Bob Dylan, but called later saying disapproval that Dylan was just to play with an electric guitar and a band behind him). Jerry Jeff Walker and David Bromberg had the song Mr. Bojangles in the series, The Incredible String Band came to England with his manager, Joe Boyd, Happy and Artie Traum often stopped by before heading back to Woodstock. After Arlo Guthrie debuted with their classic, Alice Restaurant in 1966, hundreds of calls asking where they could buy the album. Arlo same not a recording contract yet. Bob knew Dave Van Ronk, the Village folk scene in the store of Conrad. (They shared a birthday Fass and remember that Once celebrated by sneaking into the pool from the street Carmen the night.) Garland Jeffreys, Moogy Klingman and Buzzy Linhardt are hometown boys, they are still repeat visits. Others who made the scene in the past include Taj Mahal, Paul Siebel, Muddy Waters, Otis Spann, Skip James, Rosalie Sorrels, Tiny Tim with his ukulele, Cat Jake and the Family Jewels, the mother and the all night newsboys Melanie, Penny Arcade, Rambling Jack Elliot, Tom Rapp and Pearls before swine, Frank Zappa, flute virtuoso Jeremy Steig, The Holy Modal Rounders, Sis Cunningham, and again and again and again. Many of those Radio Unnamable from playing great commercial success, other private concerts remain a precious secret between Bob and his listeners. Hovering over of all is Bob Dylan. Fass met Dylan, before he began his radio career, double dating with Karla Rotolo, one step Manager hostages, and his sister, Suze, who was Dylan's girlfriend. and went to dinner and poker flat Dylan, La Posada's music in the street 4, Fass said. hen began the show, listened to and sometimes press a key it. I returned to Lightnin 'Hopkins. Dylan appeared Bob once improvised comedy show with Suze Rotolo and John Herald in 1963. Listeners also has a preview of their upcoming album, Freewheelin '. In 1966, amid recording Blonde on Blonde, he returned to Radio Unnamable, taking phone calls from listeners. Dylan anthem against the hurricane is came in the mid 70's, Fass played all night for five nights in a row and in 1986, when Dylan turns 45, held a marathon 45 hours WBAI their music. Fass said the connection to the NPR reporter (and former WBAI news reporter) Jon Kalish, in this way ob Dylan, the bard is the master of our time. I am grateful to be alive, as it was written. Somehow, it's like to have known Shakespeare. idwife movement Fass remembers his first guest in the air was Paul Krassner, editor of realism, soon followed by Zen poet DA Levy, who spoke about the legalization of marijuana. Krassner became a regular guest with Timothy Leary, wavy gravy (also known as Hugh Romney adical clown who started the commune Hog Farm and crowd control kept Woodstock pies and spray bottles of cream soda rebels) filmmaker Robert Downey (years later, Robert Downey Jr., actor, sings Radio Unnamable) jazz musician David Amram, actor, comedian and writer, Marshall Efron the unforgettable interpreter of weird, but the club, brother Theodore, and ewboy flamboyant Texan Kinky Friedman (years before he starts stories mystery writing and took possession of the policy). Bob Fass c.1969. (Photo by Jim Demetropoulis) Allen Ginsberg, Peter Orlovsky and Gregory Corso, studied and taught in English classes around the world, appeared Radio Unnamable multiple times. For many years, lawyer activist Flo Kennedy listeners on the latest crimes in the U.S. judicial system. Steve Israel, Ben and Judith Malina's Living Theatre, the actor Rip Torn (and, more recently, his son, the director Tony Torn) and Ed Sanders, Tuli Kupferberg Fugs and the rest, all were comfortable in the program Fass. Then there was Abbie Hoffman former civil rights organizer turned politician who appeared constantly provocative during the tumultuous years from 1968 to 1973. and a telephone near the bed and call Anita Hoffman said Jay Arena. t was an incredible feeling of an intimate small. Listening Bob Fass programs of the 1960s and 70 travel in time as the birth of rock joy and growth of this community of idealistic and irreverent U.S. who dared challenge the status quo. Some think it started one night in the air in 1966, when invited to Fass Cabal join him for the Fly-In, a meeting at JFK, where he and his friends can meet and party with listeners of Radio Unnamable and friends, while the planes took off and landed at the bottom. (Vision and it was like the Hawaiians that greet you when you step off the plane with collars, kisses, and the song, Fass said.) About a month later, on Saturday, February 11, 1967, 3000 people showed up at midnight No coldest day of the year, playing guitar and spending time in the international arrivals terminal under monumental Alexander Calder mobile. Fass said the author Jay Arena, the hat was the first indication that I had so many people and so eager to meet. ome thing about this electronic thing – This radio station – which allows you to listen to other people like them and that the idea of plowing alone. Excited by the response in the fly, Fass and his friends sought a new opportunity to bring to the tribe. Emmett Grogan (who worked with the anarchist collective, shovels and duty free shop travel without a ticket, food and fugitives services and other needy citizens of New York's Lower East Side) suggested that the next meeting should put all that positive energy wisely, omo waste cleanup on the Lower East Side. It's all the encouragement needed Fass and Paul Krassner. announced plans for a sweep to be held April 8, 1967, invited the public to join them in cleaning up waste block Krassner littering the floor, Calle 7 between Avenue D and 3rd Avenue. Word of spring cleaning has finally arrived in New York City Department of Sanitation. Apparently embarrassed by the idea of dirty hippies work for them, the city trucks were sent at dawn to clean the block, high bottom, hitherto unprecedented. Is that not cool the enthusiasm of the audience Fass. When they arrived armed brooms, mops, sponges and cleaning solutions and found the original mission had been accomplished, but simply moved to the lane 3 and began to wash. The New York Times reported that a large group of participants were children from Westchester County and Long Island. It was not long before the movement was raised in New York National. Abbie Hoffman became a household name in August 1967 after leading a protest anti-capitalist in New York Stock Exchange, traders shower with dollar bills. Unspeakable Bob Fass Radio Communications has become the center of the Yippies!, International Party Youth, began by Hoffman, Jerry Rubin, Fass, Krassner, and others, for children with flowers, old acidheads left together in a group that could change the course of American society. The Yippies! attracted the attention of everyone that October, at the request permit to levitate the Pentagon during a massive demonstration against the Vietnam War, which drew 50,000 in Washington DC Fass can be heard on the tapes of the event (With Ed Sanders, the rock band, The Fugs, and a woman named Mountain Girl) singing, ut demons, out! in his attempt to exorcise the evil spirits in the department War. But not everyone appreciates the humor and Yippies proved difficult to keep things light in 1968. Fass and his friends during months in the planning of the air on March 1 in Chicago during the Democratic National Convention in August. They have been called of life, unlike the summer's death, were the agents of political power has been progress in Vietnam. As a sort of practice for the big event, the Yippies Yip decided to organize a Grand Central Terminal in New York in March 1968. It started as a Happy Party Go Lucky, a gathering of people who gathered at the rally here and Easter Be-In in Central Park last year. WBAI reporters were on the scene and Bob Fass was the transmission of phone calls from Paul Krassner and others in the Grand Central, to describe the good vibes and turn to high. Then, suddenly, things have degenerated. Many hippies in the commune, motherfuckers up against the wall, decided that it would be a symbolic gesture to draw clock hands to the station in violation of time. Couple set firecrackers and other New York police began to crack and break the head cameras. As panicked people streamed through the exits, more than 200 police rounded to throw people like the Village Voice reporter, Don McNeil, through glass doors, and other drag and arrest them. Decades before CNN or the World Wide Web was to provide new eal-time, Radio Unnamable is there a link between people inside the terminal and the audience hears at home. (Fass, even called the police station Police know that the monitoring station was a direct attack on the air.) It aired testimony of the scene and spoke to Abbie Hoffman, who was patched his wounds Bellevue Hospital. Washington Post reporter, Nicholas von Hoffman, came directly from Grand Central to join Fass in the air. SA Member of the press establishment, said: I would say that the police used excessive force. It was a sudden onset of the Yippies, but also the moment that solidified place Bob Fass information network in the city. He gave the second story, unfiltered citizens distrust the media general public could trust. As Jay said Arena in radio ob Fass Unnamable not only to know the news, which helped shape events of the time. The following month, when students occupied the school premises to protest against the position of the University Columbia on the war and a plan to evict the residents of Harlem to build a gymnasium, WBAI, Fass with the demonstration of the head, the Executive Directorate as a hub for the protesters. After the assassination of Martin Luther King and Robert Kennedy (two in 1968), Fass provided in-depth coverage being replaced, giving listeners and independent researchers the opportunity to mourn, discuss theories, expressing views and information business too controversial for mainstream media to touch. In the weeks preceding the Democratic National Convention 1968, the people and guests Radio Unnamable discussed the opportunity to walk directly into the path of troops Mayor Daley. Fass warns listeners know what they were go where you want. They waste no time in Chicago. Scelsi wine later, a large New York radio broadcaster in his own right, then a WBAI listener, said Jay Arena, and all those who were charged as co-conspirators, not just the Chicago Seven. We were all in this area. Everything was provided in the Bob show. Fass has rarely left his command post at WBAI Master Control, but at the last minute, went to Chicago and all he saw and heard and recorded not only the Yippies view. After reporting a noise that sounded like a crack head against M1 someone, Fass realized that some National Guard ook very afraid. Are putting their gas masks. To plow a lot of experience with them. The hippies subsequent attack, correct and journalists as network news was transmitted live on television. When the dust is fallout, several colleagues were arrested for conspiracy Fass and incitement to riot. Fass escaped prosecution and returned to WBAI in the next decade, the program has become a kind of alternative Hall, Abbie Hoffman calls almost every night with an update sample Study of Seven of Chicago, which lasted for months. Protesters against the draft your court after being arrested for requesting hearing with Bob on strengthening bail. A woman called to say that the owner had set fire to his building and had no other place to go — there were carpenters music that could help rebuild? During the long years of imprisonment of Rubin Carter, a murder he did not commit, attorney Flo Kennedy called Radio Unspeakable regular or keep the case in the consciousness of radio listeners at least night, "said Fass. Do not forget to visit Woodstock in the '70s, said Bob Dylan arteries was unfairly being black n arrogant. More Years later, Dylan sang his song which tells the epic story of wrongful conviction (urricane) and formed his Rolling Thunder Review specifically to raise money to defend Carter. Fass calls for a new trial later claim Carter and NE of the major cooperative efforts, where the hippies and blacks came together to make a change before Jessie Jackson's Rainbow Coalition. Even in later years Abbie Hoffman 1973 arrest intent to sell cocaine (Fass was created), he changed his name and appearance and are hidden, sometimes even seemed Radio Unnamable. Bob Fass went to his show on WBAI New York and has undergone radical changes. In 1970, the movement split into factions and Directors new programs and station managers for review filed in the station tried to block some air time feminist activists Gay, African-Americans, Hispanics, Native Americans, and others. Fass and many believe that this approach is the antithesis of the character WBAI staff. In 1977, Fass was at the vanguard of a power struggle for the future of the station. Participated in a personal attempt to form a union. Management accused of iving in the past and ordered not to discuss matters of internal channels in the air. It was a application which is unable to answer because he was convinced that radio listeners to support non-trade payables deserve know and have a voice in what was expected. The stand was ended with some officials of the WBAI takeover transmitter on the Empire State Building, while others (including Fass) remained anchored in the studios, broadcast over telephone lines were cut off and police arrived far. New York City station of the freedom of expression to lock the front door and stopped broadcasting for a total of 35 days. Fass was suspended for five long years, during which he returned to action, became a guest house WFMU in New Jersey and has campaigned to return to his rightful throne at WBAI. Since its reintroduction in 1982, Fass has continued in the same line. Singers like Jeffrey Lewis, Roy Zimmerman, Debby Dalton, Kathy Zimmer and Rav Shmuel, blues guitarist Guy Davis Walker and Toby Keith radical environmentalist Lampke (also known as Ponderosa pine) and visual artists like Keith Haring, Art Spiegelman and Ben Katchor McArthur partners are only a few who have joined the list of invitees Radio Unnamable. Fass assembly members The Lovin 'Spoonful in the air, led the Phil Ochs Memorial (a tribute to the life and music of the live broadcast of a folk singer on the Lower East Side in December 2005) and went to Houston to celebrate the anniversary of Jerry Jeff Walker, who recorded and played on the radio. Fass was a fierce critic and constant, as he calls it, the war for oil and continues to speak ush against capital punishment, often putting prisoners to appeal the prison in the air. A return to the issue of homelessness in New York Times more, awareness of dangerous city shelters, reports on the gentrification many parts of the city that has always provided affordable housing, and to strike the assault on the city in rent control. In mid-1980, Fass is Record distance in the tent city of homeless people have erected in Tompkins Square Park on the Lower East Side. He worked with the Living Theater and members this community to produce a game based on his experience (which included both professional actors and homeless), called God's hands. For 2006, Fass on WBAI time had been reduced to one night per week. Lasting influence In his book about life on WBAI, playing on the tape FM, Steve Post Bob Fass described as huge man back blond hair and large black-rimmed glasses, with hands so large they seemed dominate his huge body. Her voice, sweet and nice I have heard of desktop monitors seemed somehow detached from its body. Post, which began as WBAI accountant before hosting their own program, it was, Fass describes how he took under his wing is wide and the right to see him at work, to teach what he knew, the demystification of the process. Julius Lester, a former SNCC photographer, remember that this fear Fass, during the first year he made his own program on WBAI people constantly confused with Bob. Larry Josephson made man WBAI in the morning and finally station manager, remembers the first time Bob told him to control teachers, like Dorothy entering Oz does. In fact, Fass creates a magical atmosphere and does everything seems so easy, it has encouraged dozens of kids want to be a DJ. His continuing impact is obvious, according to Marc Fisher, author of Something air (Random House, 2007), which says Fass has inspired a host of other personalities like Howard Stern, Sirius (who listened to Bob a lot as a child) Tom Leykis in Los Angeles and Wine Scelsi, to mount the radio. like the idea of sharing, each which, according to his ability, to each according to his needs "Says Fass. I connect people in a city with people from another. I believe that the information can cure almost anything. As already indicated, Fass was always willing to lend an ear and share the air with absolutely anyone who felt they had something to say. This generosity often leads to endless, boring, bragging that only a mother could love, but also led bursts often dynamic, friendly vision, energy, humor and understanding. Unlike almost any which radio or TV personality can think fear silence, Bob Fass. Seconds pass by him, apparently, reflects the spirit of your guests or on leaving the listener, a large space to fill in the blanks. Moreover, being a nice host Bob Fass is a good listener. Fass has never been a brilliant humorist Jean Shepherd, who preceded him on WOR late '50s, not an investigator stars. His style is to make a few blows to the soft image of your room, then the content to follow suit. His singular talent, as was Jay Arena Radio waves Unnamable, is orchestrated great mix, and Fass, beauty exists in the way events are intertwined in the art presentation is complete .. and for the better or worse, the divergent strands of life that presented Fass merged to form a lucid the whole time he said, YE BYE. Looking back in Grand Bazaar udio presided over more than forty years, Fass said the little moments that stand out for him. nce at 3 am, a guy named Lower East Side and spoke something and then said: hoa! Do you hear the thunder? A woman in the Bronx who is also on the line, paused, then said, oh! See the flash! You could hear the thunderous applause to the city and have the feel of a municipal network. " Remember the appearance of Black Panther Radio Unnamable Brooklyn back in the day, Fass said, a bit like when people are a bit hostile and suspicious, me and the audience to warm up and gain the end the show. In 1971, a man called about 2:45 ET announced that he had taken pills and was going to commit suicide. Fass asked promise not to call the authorities, but refused to Fass. "I do not want to lie," Fass explained to a reporter the next day. Finally someone that f you tell a lie, what kind of life depreciates. Fass spent the next two hours talking to the person who called in live on air, WBAI other workers to contact the police and the phone company trace the call attempt. Later that morning, the police finally found the appellant is lying unconscious on the floor of his room. His phone was picked up, the radio tuned to WBAI. He was taken to the hospital in critical condition but survived. Fass said the man contacted him later and thanked him for coming. The press tried to make a hero, but he opposed. When a reporter from the Daily News came home, wanting to have his image Fass handed him a photo of his colleague, Larry Josephson, through a slot in the door. Josephson on the front page incorrectly identified as "Bob Fass WBAI DJ heroic. "Fass said later he thought, would like to have your photo in the newspaper arry. The columnist Jimmy Breslin noted Fass at work in 1985: "the big man in a link dyed T-shirts, Fass had two or three callers on the air at once. They talked about the battered women's syndrome and mortgages to low income. A caller to interact with other nonsense words Tinea Left! Someone opened the door and said we food! As Breslin left, Melanie went on their way, just get to sing on Radio Unnamable. In mid-1980, Fass was almost homeless. AJ Weberman Fass rent a truck and a storage unit to store your important files, payable in advance by many years. Washington Post columnist Marc Fisher remembers spending a night on WBAI in 2005. phone calling to say that children were being abused by Police in Brooklyn. Bob has been the effort to telephones and the show became an open forum where listeners with an account almost play-by-play of the meeting from their different perspectives. It was an amazing mix of old pillars of the cons-culture and a new hearing BAI Caribbeans and African-Americans. Bob Fass was the link circuit. Fass was paid last time for radio in 1977. Musicians such as Dave Bromberg shot in tribute to thank Bob or give us in our careers. Many of his colleagues turned as protected coastal Steve Post, Larry Josephson, Scelsi and wine, and talked about his generosity of his time. The auditors have made donations to fund your retirement. BAI t pay me better than people remember, I think, "said Fass. In 2005, Manufacturer me Neil, president emeritus of the School of Social Policy at GWU, has organized a Christmas party Fass. this right has spent billions of dollars to revise history and distort both the collective memory manufacturer said. He suggested that the successful restoration and archiving 45 years of Bob Fass program Ould be a giant first step in the recovery of this history. Unspeakable radio 80 hours were purchased and are currently available in the Museum of Television and Radio in New York. This is a documentary film about today production Fass and Radio Unnamable. Bob Fass and Steve Post with Howard Stern, c.2005. (Photo: Laura Rosenberg) ike many others, Bob wanted to change the world. Unlike many others, had access to the airwaves, and thus a real opportunity to do so. Jay Arena said. Quotations Fass When we speak today for those who listened to Bob Fass regularly over the past 60 years, one can feel almost spiritual reverence not yet Radio Unnamable. Before the cultural explosion of the mid-1960-before listening to the radio ritual Unnamable became a shared community by cons-culture of the city Fass discovered that he felt as if they had operated a ticket to a magical world, and many religious devotees became Radio Unnamable instantly. Air samples MP3 clips of Unspeakable radio, including a segment of 90 minutes with Bob Dylan as a asked since 1966. Playing in the FM band: A Personal Account of Radio Free Steve Post Viking Press, 1974, ISBN 0-670-55927-X "A radio station with hair, sweat and odor Real Body" The New York Times, Susan Braudy, September 17, 1972, Sunday Magazine "The Staff members take insurgent WBAI Coup In "The New York Times, Robert D. McFadden, 12 February 1977 Arena, Jay. "Radio waves unspeakable." January 24, 1996. August 28, 2006 <http://216.149.8.45/fass/>. Breslin, Jimmy. "Between evangelization and a rock concert, justice." NY Daily News on October 29, 1985. Engleman, Ralph. Public Radio and Television in America: a political history. Thousand Oaks, CA:. Sage Publications, 1996 [page needed] Fisher, Marc Something in the air. New York, NY. Random House, 2007 [page needed] Platzer, David "Some nights Unnamable Radio with Bob Dylan," The London Magazine December 2004/January 2005 "In the air, an announcer and sharing a murderer a platform of "New York Times, February 24, 2008 ^ Rafferty, Thomas. "Suicide is a plant called WBAI." NY Daily News November 7, 1971 ^ Clarity, James F. "Radio station contributes to the rescue calls to suicide." New York Times January 7, 1971: p. 84 ^ Listen AARP donated Bob Fass on WBAI Future documentary website Pacifica Radio Network KPFA KPFK KPFT WPFW WBAI Pacifica Radio affiliates Alternative Radio against of democracy between the lines counterSpin Now! focus investigations of Free Speech Radio News Hard Knock Radio Contact Talk Mynd make new homes dimensional Rally Lift Service radio output Ourselves TUC Women's International News broadcast on stations owned by Pacifica: Something will wake up calls Current: Aimee Allison Dennis Bernstein Don Blas Pratap Chatterjee Bustany Bonpane Davey D Deepa Fernandes Brian Edwards Juan-Jack Foley Tiekert Gonzalez Amy Goodman Doug Henwood Michio Kaku Rose Ketabchi Kolhatkar Nicole Sasha Lilley Jeremy Scahill CS Soong Roy Tuckman Sawaya History: Erik Charles Amirkhanian Bauersfeld Mary Frances Berry, Larry Bensky Jerry Brown, Bob Fass Dorothy Healey Mark Lewis Cooper Hill Pauline Kael Saul Landau Julianne Malveaux William Richard Pryor Kenneth Rexroth Casa Mandel Elsa Knight Thompson Susan Watts Alan V. Federal Communications Commission Pacifica Foundation Media Public service broadcasting American Public Radio International, National Public Radio Categories: 1933 births \| American pacifists \| American radio personalities \| Pacifica Radio \| peopleHidden life Categories: Wikipedia articles that need editing style in December 2007 \| All articles needing style editing \| Articles with peacock terms from May 2008 \| Articles that may contain original research since May 2008 \| Wikipedia articles needing style change to from May 2008 \| Wikipedia articles needing page number citations Filed under Learn Guitar Songs by Nestor on Aug 5th, 2008 . How To Play Guitar Slide How To Learn Guitar Tabs Online Can Any Guitar Play In Drop B Online Guitar Lesson Videos How To Play Classical Guitar Best Learn Guitar Program How To Play Guitar Jazz Free Online Electric Guitar Lessons Learn Guitar Easy Free Learn Guitar Techniques Dvd	cc/2022-05/en_middle_0088.json.gz/line102

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